Quote from: bryce0lynch;585333Strongly Concur, on both points.

I can't wait to see more!

Thank you very much for your feedback. It is much appreciated. There's more to come, for sure.

Quote from: Garnfellow;585330I think this is getting close to the mark. Draftsmanship is nice, but not the whole thing. Take the Halls of Undermountain, for example. This is a professionally drawn "pretty" map, but it really does not cry out to me.

When you think of aesthetics, you typically think of things like symmetry and balance and proportion. But part and parcel of the dungeon experience is exploration, and too much symmetry in a dungeon map kills that. "Oh, there was an alcove over here to the west, so there must be one over here on the east."

But too much randomness just looks like noise and has little appeal. Over the years I've generated a shit ton of maps using good ole Appendix A, and at a certain point you have to step in and guide the process or the dice alone will probably give you a boring map. (Like a thousand monkeys banging on a typewriter for centuries, it's possible you would get something great eventually.)

So while your map doesn't have symmetry, exactly, it does have these repeating visual features that catch the eye. For example, the chain of circular pools stringing from rooms 14, 20, 32, and 47. Or the series of octagonal rooms in the southwest corner. My eye immediately gets pulled to those, and from there I start wondering "how would one get into those rooms beyond area 16, since there's no door?" Which naturally leads to "what kind of cool shit would be placed in a series of doorless octagonal rooms? Good dungeon maps engage the viewer, raise these sorts of questions. The prismatic rooms are another example.

Yes, I agree with all those elements of response.

From a game play standpoint, symmetry can be great in giving clues to the mapper and the party behind him/her: "hey guys on that side there was an alcove, and this side is exactly the same, but for the alcove! What gives? We search the area!" Assymetry keeps the environment changing, participates to the  variety factor, to a lack of boredom during the exploration where you don't anticipate "Ok... the same five corridors again..." but rather wonder "now what the HECK are we going to find this time?!"

Some fashion of repeating patterns or features on one hand helps amp up the assymetric aspect of the map on the other hand without breaking its flow, at the same time keeping an air of coherence to it, like all the elements belong to the same complex, rather than being cut/pasted from various maps with little sense to the whole.  

Also, there's no question that interesting features on the map that make you go "huh? What is that for?" is engaging the imagination. The octogonal rooms you mentioned, the cube in the center of the map (above the spiral staircase) gets mentioned to when people ask me about the features on the map and what they might mean.

Like this too:

Quote from: Garnfellow;585330Varying things up is also, as you point out, key. The cavern system in the northwest also catches my eye. Did the builders just run out of time or money? Or were there other . .  . darker . . . reasons for keeping that section pristine?

That kind of reflex of the imagination is really a great advantage for the game itself. So, keeping in mind we want the map to be played at an actual game table, and not just looked at quizzingly, that kind of reaction is exactly what we want to cultivate on our own parts, as DMs coming up with with our own maps, given that so much of the actual game is just looking at the sheets of notes and maps and coming up with a cool description on the spot, and also as guys who want to share our stuff with modules and such, since so many DMs out there will look at the map and go "what is that for?"

Instinctively, this kickstarts the process of a DM making your map HIS own. And that is VERY important to get a great game session going, IMO. If the DM looks at his maps or the maps he picked up online or in a module and that doesn't get his mind going to get into the setting depicted and visualize what's going on there, the map's missing an opportunity to help, and it can result in a game where the DM defaults to boxed text or just doesn't know what to describe and how because the "hook" to the imagination is missing. Some DMs sure don't need the map to help them in that regard, that's very clear, but if it does, well, so much the better, I think.

Quote from: Garnfellow;585330Dropping in secret or strange areas is another way to engage a viewer. Scanning the map, for example, the odd area just east of area 20 catches my eye. It's an unusual feature, for starters -- the three doors, with the two outer ones opening up into symmetrical rooms that frame a corridor running out from the middle door, and leads, eventually, to something. Again, the imagination starts taking over. Then I realize that the entire area is hidden behind a single secret door, and that the space is sunken below the elevation of the rest of the level, and it becomes clear that there is something very cool back there. Or at least there used to be.

Yes, I think we're definitely on the same page here. When I draw the map, I start out with an outline of the level's flow. This is basically the skeleton of the whole thing. The avenues of exploration put on paper in an abstract form.

Then I come up with the map itself, based on this skeleton, chunk by chunk, section after section, as demonstrated there.

This is the stage where I really come up with particular areas (besides the very bare bones ideas that made it on the initial outline, of course), cool shapes or features that make me go "hm. That's cool. What could that be?" I start writing some ideas. I draw arrows and I'm like "ok, this is kitchen" or "Is that a pit?" That's basically what you see here:



When all the sections are put together you have an environment that's full of these various elements. You'll have to modify your original ideas, some of them are going to be too much, not enough, will not fit with the grand scheme of the level - but that's fine, that's part of the process - and what you'll get at the end of the day is a sense of coherence of the map, with some cool areas all over the place, and a sense of variety coming from that as well.

I also think that mapping bit by bit like this helps me visualize the environment. This is very important to me, to the way I run the game, to be able to close my eyes and *see* what it was looking at or drawing on the page, to see the walls, see the stagnant water, imagine the dampness of the place, the half light, the torches burning, the cobwebs, etc. This process of mapping helps me to get there in my mind's eye.

Quote from: Benoist;585348When I draw the map, I start out with an outline of the level's flow. This is basically the skeleton of the whole thing. The avenues of exploration put on paper in an abstract form.

Then I come up with the map itself, based on this skeleton, chunk by chunk, section after section, as demonstrated there.

This is the stage where I really come up with particular areas (besides the very bare bones ideas that made it on the initial outline, of course), cool shapes or features that make me go "hm. That's cool. What could that be?" I start writing some ideas. I draw arrows and I'm like "ok, this is kitchen" or "Is that a pit?"

I think elements of this approach may help me bridge an important gap with my own megadungeon.

I treat megadungeon mapping and stocking much like the development of sectors and subsectors in Traveller. You don't just generate all systems for everything all at once. Well, unless you want to use a computer program.

I have a nice cross section map of all 10 dungeon levels. This is like a Traveller domain-level map.

I approach each dungeon level like a Traveller sector. I have overall themes and monster rosters for each level, just like you might say "This is a sector where the Aslan and Solomani have been butting heads." So, for example, the 7th level is an oversized level, with rooms, chambers, corridors, etc. all double-sized. There are bands of hill, fire, and frost giants. There is a wererat den and a clutch of lamias. And so on.

For each level, I've got a Sector map -- basically, an 8 x 8 grid, with each square representing a 300 x 300 foot zone, which is equivalent to a Traveller "Subsector." (No level uses all 64 possible zones, so I have a plenty of room to expand.)

So far I've only really fleshed out the dungeon zones as I've needed them, and I haven't worried about zones that aren't developed. This has been a good labor-saving approach, but I am finding -- just as with Traveller -- that because each zone/subsector is generated in isolation, there isn't always great continuity between adjacent zones. So my dungeon zones don't flow well from one area to another. At the individual level, the zone maps may look fine, but when you lay completed zones next to each other it looks like a mishmash.

I've got a good top-level and a good bottom-level perspective of my megadungeon, but I need to do something at the mid-level to knit these bottom-level pieces together better. Playing around with rough level outlines might be the missing link.

Very much enjoying the look under the hood here and the tasty-looking map. I thought I'd contribute some of my own thoughts.

Part of good MD map design is having the different architectural styles and features contribute to the dungeon's meaning - to the uncovering of its history and present secrets. As I wrote on my blog (http://rolesrules.blogspot.co.uk/2011/12/meaningful-megadungeon.html):

Quote1. The sub-areas of the dungeon must show differences in design (wide passages, narrow passages, orthogonal, diagonal, curved, irregular, etc.) and decoration.

2. The areas of the dungeon should relate a meaningful history for the players to discover. This can happen on a micro level - "this was once the kitchen of the Minotaur Lord but now it is the lab of a crazed alchemist" - and a macro level - evidence related to what the Minotaur Lord was doing, how he got on with the other power groups, what his place was in the rationale of the dungeon.

3. The areas of the dungeon should refer to each other, both in terms of architecture (a multiplicity of stairs, chutes, teleporters giving the sense of freedom of movement between safer and more dangerous places) and features ("this lever opens the portcullis on level 3"..."in this room is an ambassador from the troglodytes on level 4").

Other relevant writings of mine:
http://rolesrules.blogspot.co.uk/2012/04/d-is-story-game.html
http://rolesrules.blogspot.co.uk/2011/01/megadungeon-mysteries.html

Quote from: Garnfellow;585729So far I've only really fleshed out the dungeon zones as I've needed them, and I haven't worried about zones that aren't developed. This has been a good labor-saving approach, but I am finding -- just as with Traveller -- that because each zone/subsector is generated in isolation, there isn't always great continuity between adjacent zones. So my dungeon zones don't flow well from one area to another. At the individual level, the zone maps may look fine, but when you lay completed zones next to each other it looks like a mishmash.

I've got a good top-level and a good bottom-level perspective of my megadungeon, but I need to do something at the mid-level to knit these bottom-level pieces together better. Playing around with rough level outlines might be the missing link.

Hm. I see what you mean. This is an issue I generally do not have. When I come up with the cross-section and names for the levels, and/or brief descriptions, I basically get inspired by previous ideas and come up with the next and the next. Sometimes some connections between levels are obvious from the get-go, and sometimes I elaborate on them later on, which may had some transional sections, sub-levels or even entire levels to my cross-section later on.

So when I come up with the cross-section of the volcano, I start noting the names that come to mind for those levels or what I think is where in very sketchy details, not even sentences. Here the names came up independantly pretty much as I was writing the post:

(0a) The Hive
(0b) The Aarakocra Aviaries
(1a) The Mines of the Ash-Kadaï
(2a) The Ashen Court
(2b) Tombs of the Builders
(3) The Smoldering Theatre
(1b) The Trogodyte settlement ruins
(4) Ponds of the Fish Men
(4a) Sunken Ziggurat of Ankhepoth
(5) Temple of the Hand
(6) The Market Place
(6a) The Fortress Gate of the Duergar
(1c) The Brigands' Hideout

At first I have no idea what's going on but the game of association in my mind and wondering "what are those?" and "how are those two linked?" and so on gives birth to a number of ideas, which then I write down when I describe each level with a paragraph or two similar to this one for the Bandit level (aka 1c. Brigands' hideout in the original key): Bandit hideout. Victims abducted. Bandit ‘King’ and his court. Hounds he throws food at. Trained rodents. Group of Hobgoblin mercenaries. Mud. Giant Snake pit. Shoddy workshop with disassembled carts, teeth taken out of skulls. Toy constructs built by alchemist to entertain. Alchemist prisoner too? Prisoner for too long.

Now you look at this first draft description to the level and compare it to what I initially came up with for the Troglodyte settlement ruins above... Magical, undead level. Skeletons, zombies, scavengers. Predator found refuge near the surface. Random hauntings. The deeper you go, the creepier and darker it becomes. Up to the seal. Ruins. Abandoned rooms. Traps. Offerings from the Ash-K who are afraid of the place and want to appease its Evil. Bones disturbed are reset after a time. Rooms too. Cursed to repeat for eternity. Pantomime.

... you can see the seeds of what gaves us the later Bandit level where you have the bandits inhabiting that level of the complex that preceeded them, that lies under an ancient tower once build by the Sorcerer Kings who later built this troglodyte fort up the flank of the volcano. So there's a sort of foreshadowing effect going on.

Same thing with the alchemist's experiments which are picked up from the Sorcerer Kings of old, who themselves picked them up from the earlier technology of the Mi Go who dug through the volcano in the first place. The intact brain in the metal box at area 59 of our Bandit level key could also be a great foreshadowing element for the deeper levels of the complex, from the Tomb of the Builders downwards, in particular.

Going back to the connection between the troglodyte fort (1b) and the bandit level (1c), I know there's an actual passage or route between the two there now. So my cross-section would need to be updated. I wondered how to fill the gap here and considered for a moment adding specific set pieces along the route. I find this particular picture to be extremely inspiring as far as the look and feel of this particular passage would look like:



That's going to be cool I think. There could be excavations and/or advances from the bandits in this zone, probably some foreshadowing elements that would introduce the darkness the PCs are going to find if/when they reach the troglodyte ruins at last.

So to make a long story short, it's kind of a back and forth in my mind. The macro inspires the micro and vice versa. Before, during and after. And all this stuff ends up making a coherent whole, yet with sections or levels with each their own flair and specificities in the end.

Quote from: Roger the GS;586181Very much enjoying the look under the hood here and the tasty-looking map. I thought I'd contribute some of my own thoughts.

Part of good MD map design is having the different architectural styles and features contribute to the dungeon's meaning - to the uncovering of its history and present secrets. As I wrote on my blog (http://rolesrules.blogspot.co.uk/2011/12/meaningful-megadungeon.html):

Other relevant writings of mine:
http://rolesrules.blogspot.co.uk/2012/04/d-is-story-game.html
http://rolesrules.blogspot.co.uk/2011/01/megadungeon-mysteries.html

Thanks, and that is indeed some cool input, Roger. Your point about the way the dungeon campaign allows the PCs to find out the story of the dungeon made me think of Mike Mornard's (Old Geezer) summary of D&D somewhere: "The story D&D tells is the story of the world," or some such. It's very true.

I am posting this so I can keep track of this thread, because the information here is fucking amazing.  Carry on!

Quote from: StormBringer;586585I am posting this so I can keep track of this thread, because the information here is fucking amazing.  Carry on!

Thanks, mate! I'm glad you find the info useful!

BANDIT LEVEL MAP KEY, PART 3



65 – Secret passage to the Three Doors. Just behind this secret panel opened in a push forward, then downwards motion, stand three doors of peculiar appearance. They are all made of dark iron and covered with gears of different sizes. In the middle of the western door hangs half of a mask representing some kind of solar deity, flames erupting from its face as hair would, attached to a set of rails joining all three doors together. A keen observer will note that the single eye on this half of the mask is perfectly round, and slightly discoloured, like an object has been inserted in and out of the socket time and time again.



The other half of the mask should apparently have been found hanging in the middle of the eastern door, attached in a similar fashion to the rails, but is presently missing: it has been taken away by force, judging by the set of wires and cables left hanging in its place (Xaelaandder Bey, the alchemist of area 59 wears it presently). The rails extend from the middle of the doors on each side towards the center of the middle one.

There are levers protruding from the eastern and western walls of this small area facing the doors. They are both in the "up" position. Lowering a lever will make the closer half of the mask move along the rails towards the center of the middle door. Since the half of the mask on the eastern door is currently missing, just the socket supposed to be holding it in place will move along the rails when the lever next to it is lowered.

Once either one of the halves of the mask finds its way to the center of the middle door, the door it has just left noisily unlocks itself (i.e. the eastern or western door, with a rusted "clack" sound), granting access to the area beyond. The eastern door will not open until the half of the mask in the alchemist's possession has been placed back in its original position, however.



A. Entering the area beyond the western door, the PCs will find a corridor turning left, then right. In the corner there, they will find a small dais with a little shrine dedicated to a group of deities whose statuettes have been shattered some time ago. Remains of offerings can be found near the statuettes: a few copper pieces, some crumbling remains of pieces of meat, clay goblets no longer containing anything but dust. Above the dais, engraved on the wall, lies a warning in the ancient language of the Sorcerer Kings who built this place:

"As the skies give us, and take away,
So shall men of faith bend, obey,
Give mind and crown, not to fade yonder,
Forever encased, forever trapped, and wander."

This is a warning concerning the room beyond where the PCs will find against the northern wall a large sculpted scene depicting strange winged creatures similar to giant moths with squid heads flying all towards a black star shining of a very deep blue, indigo color painted on the ceiling. Each of the statues holds with their tentacles some real human heads which have been severed at the neck, their eyes entirely white, blind for eternity. Most of them are old and mummified, save a few that look rather fresh (victims amongst the brigands as the alchemist experimented with the area).

In the center of the group of statues the PCs might notice a larger creature wearing a large deep blue, black lighted, indigo gem in what must be its forehead, like a third eye. It seems to direct the group towards the black star.

The gem in the forehead of this large winged creature is of the same size as the socket of the half of the mask hanging from the door outside.

Trying to take the gem without making any offering will cause some of the creatures to animate. 1-3 stone golems, as it were, will attempt to seize the offending PC and use their tentacles to take his head off by force. Once that is done, they will take back their position in the sculpture and freeze again. Additionally, a blast of black light will spread from the star on the ceiling and, strike the PCs' eyes, prompting a saving throw versus aimed items (rods, staffs, wands) with a +4 modifier to avoid being blinded by the dark light.  

To avoid these negative consequences, the PCs must make an offering to the creatures by cutting the head off any intelligent humanoid and presenting it to the creatures. They will then animate, take the offering, which will join the many heads hanging from their tentacles. They will take back their position and the entire scene depicted will briefly shine of the same indigo color as the gem and the black star. The PCs will then be allowed to take the gem of the large creature's brow.

B. Once the PCs have recovered the half of the mask in the alchemist's possession, they will be able to affix it to the knob sliding on the rails when the lever on the eastern side of the corridor is activated. This doesn't take any particular training, as the cables are hanging pretty evidently and putting them back inside the mask is just a matter of finding the right openings. When that is done, and the lever is activated, the eastern mask will travel along the rail to the center of the middle door, and the eastern door left unoccupied will unlock noisily.

Entering the area beyond will reveal some similarities with (A). There is a small dais in the corner where the corridor turns right, then left, with a little shrine there. The first difference is evident: the shrine here is dedicated to a single deity, the Sun deity of the setting. Remains of offerings can be found there as well. Above the dais, an inscription too, but this one says:

"What does the Light stand for?"

In the room beyond, there is a sculpture on the northern wall. This one represents the Sun lord holding the severed head of one of the monsters sculpted at (A). In the middle of the severed head, another perfectly round gem that would fit neatly inside the socket of the eastern half of the mask, this one glowing of an orange, morning light. The floor is covered of thousands of pieces of copper (more than 50,000 of them, in fact). If the PCs throw some of their own coins on the floor, it will count as an offering to the Sun god.

Trying to seize the gem without answering the question will anger the Sun god. The room will start glowing red, as if warmed up by some great lava flow under the room. This wil of course warm up all the pieces of copper lying around as well. The PCs will have to retreat if they do not want to be burned to death (use rules for burning heat to adjudicate the situation). The PCs will not be able to take the gem by force, as it is magically sealed to the sculpture.

Answering the question to the satisfaction of the Sun god will allow the PCs to take the gem. "Truth", "Knowledge" might be acceptable answers. Judge according to the particular wording and declamation of the PCs to the deity in front of them; if their answer makes sense to you, allow it.

C. Once the two halves of the mask are put together in the center of the middle door, and that both gems have been inserted in its eye sockets, the middle door will unlock and open, revealing a long corridor beyond.

About 20 feet away from the door the PCs will find a dais where a lump of fresh clay is resting. This clay is in fact a deactivated teleporter. When all five platonic solids are activated in the Prismatic room (30), this lump of clay becomes a living pillar that acts as a receiver to the teleporter inside the Prismatic room itself.

East and west of the dais, the PCs can see to enormous gems protruding from the walls. One, to the east, glows orange, and the other, to the west, glows with a deep blue, indigo color. A lantern hangs in front of each gem. Both lanterns are out.

Lighting up these lanterns makes them glow a different color, orange and indigo, respectively. The surface of a gem shines briefly as its corresponding lantern is lit up. The lantern's magical fire dies after a period of one exploration turn. During this time, while the lantern is lit up, one could use the corresponding gem as a portal leading to the Prismatic room itself. Doing so makes one emerge inside the room from one of the doors associated with the colors that combine to make the hue of the gem (i.e. orange – yellow or red, indigo – violet or blue). Additionally, entering these portals will activate the orange or indigo satellites, respectively, which circumvents the requirements of opening and closing doors as explained at (30) to activate all the satellites in order.

North of the days, the walls start to be covered of frescos and inscriptions, all of which depicting some titanic battle between the winged creatures the PCs have seen depicted in the sculpture before and some type of enormous, gigantic octopus whose tentacles stretch on the walls in a way that suggest his body or core could be found further north at the end of the corridor.

At the end of the corridor the PCs will just see the tentacles battling the painted winged creature come together against the northern wall facing them and creating a fresco defying all reason and logic, as though the body of the giant octopus was just a giant mass of eyes and mouths and faces that all seem to swirl around a physical object levitating just in front of the wall.

This object is a crystal brain. It is translucent, clear, and seems to shine with an inner light that changes to reflect the different hues of the rainbow in a perpetual, rather hypnotic loop for those observant enough to notice it.  

This brain is the key to the secret door hidden by the animated fresco covering the northern wall at this position. To open this door, the PCs need the Canon's octopus mask at area (33). The Sorcerer Kings used the knowledge of the spirit realms around this place bestowed to the Nu'ana to build this particular area. Other octopus masks, or related items of lore and magic, might be able to unlock this seal as well. Any of the Nu'ana people will be able to inform the PCs about the function of the octopus in their culture, which acts as a carrier or dreams and portents, an agent of change, travel, reincarnation, is a manifestation of what lies beyond, and in some ways acts as a messenger between the world of spirits and the world of men. It is not impossible the PCs might come up with their own solution to this riddle. Let them. If they find a way to build or find an Octopus mask besides the one in the possession of the Canon, then by all means allow it, but don't make it too easy on them by any means.

Anyone wearing the octopus mask close to this area will see the tentacles of the mask animate and stretch towards the levitating crystal skull. If stepping closer, within range, the tentacles of the mask will seize the brain. Many alien memories of other worlds, other times, other dimensions will flood the wearer's mind as the fresco on the northern wall moves and swirls outward to reveal the large teleporter beyond (similar to the other teleporters of this level, without a chance of malfunction).

This teleporter leads to the Cube at (67), unless all the seven satellites of the Prismatic room (30) are lit up in order, which will change the destination to the Tomb of the Lightbreaker sublevel of the dungeon, the mausoleum of the Sorcerer who built this place.

66 – Spiral staircase to the surface. This spiral staircase leads up to the surface, and down to the waterworks sublevel. The area is surrounded by trip wires that will ring bells to warn the bandits of the arrival of intruders in the vicinity. See area (1) for wires.

67 – The Cube. The Cube is a prison, a dimensional space built out of meteoric metal which trapped the builders the Sorcerer Kings used and tortured to extract all the knowledge they could about this place, the crystals the builders were searching for, the function of the dungeon and volcano around it. This is in fact a sublevel of the dungeon, a tesseract, a three-dimensional cubic level where time and space have been bent. The access to the Cube lies at area (65).

68, 69 – Corridors of the ages. These corridors are extremely dangerous to the uninitiated. There are several bodies visible from both the northern and southern entrances, and little shrines next to the doors leading in and out of the corridor itself. Going up or down the corridor in the sense of the arrow in each case is safe enough. The people walking by the edge of the Cube can see its alien structure protruding in front of them, and hear a low hum emanating from it, clearly indicating it is active and alive.

Going against the sense of the arrow is deadly in most cases, however, since the magical and temporal energies swirling around the Cube somehow do not work with the movement of the body and its own energies in such specific conditions, but against them. The body therefore ages rapidly, 1d100 years on a failed saving throw against spells with each trip through each corridor, to be exact, and 1d20 on a successful throw. There is no known way to avoid this effect, but several candles and little mementos have been deposited here by the inhabitants of the dungeon at the deadly entrances of both corridors (that is, the southern entrance of the western corridor and the northern entrance of the eastern corridor, respectively), along with various graffiti telling whoever reads of the danger ahead "not this way!", "Only death lies ahead!" and the like.  

There is a way to walk the corridors against the sense of the arrows, in the direction of the deadly aging, without succumbing to the effects of the Cube, however. To do this, one would have to stop twice walking down the corridor, one time in each of the rooms marked (P) along the way. These areas are safe from the effects of the Cube and reset the aging effect of the corridor, thus allowing to go through the area chunk-by-chunk, without suffering the full blast of the Cube's radiations.

70 – Prismatic room. See area (30) for more information.

71 – Common grave. After following the twists and turns of a small corridor the PCs will reach a room large of about 20 feet and long of 30. This area is filled with bodies who seem to have all died of exhaustion and various wounds delivered with bare hands. The greatest amount of bodies is pressed against the locked door in the NE corner of the room, as though they attempted to force their way through and died trying.

This is in fact exactly what happened.

All around the room, the walls have been scratched and etched (using nails, mostly, as the evidence of dried blood and wounded fingers suggests) with various personal signs, symbols, and bits of phrases here and there. The language is ancient, and belongs to the same era as the Sorcerer Kings'. One can read, scattered here and there across the walls:

"The warmth of your touch."
"The coldness of your eyes."
"The promise of your breath."
"The worlds you inhabit."
"Please let me in, back to your arms."
"Know your love. Die a little inside."
"Please let me in, back into the dream."
"Let me live. Let me die yours again."

These verses are the pleas of the people who died here longing to return to their masters, a group of ghouls whose touch charms its victims, rather than paralyses. This is a warning to the characters. Don't hesitate to make it look really creepy and unsettling. They must question their good judgement in venturing any further.

As the characters tried to make their way to the door, they will undoubtedly have to clear the area of the bodies pressed against it. The bodies will then animate. Make this a chaotic moment, with arms and legs and faces flailing around, trying to grab the characters savagely. A group of 2d6 zombies would be enough. The idea here is really to warn the characters of what lies ahead. If they cannot handle this easily, they are not ready to face the ghouls.

72 – Teleporter room. Similar to the teleporter of (28), this is one of the main eight teleporters of the level. See area (9, 10) for more information.

This room is heavily decorated. The scenes on the walls depict two ladies being worshipped and begged by the slaves under their command in some sort of grand building enterprise. They live and die and worship before the characters' eyes. Some of them are committing suicide. Others are plucking their eyes out after being rejected by the Masters. All of them want to be loved by the Masters, and the Masters do not care, instead instructing them to go about their labour, to work for them until they are no more.

On the southern wall of the room, there are three separate doors, all of them reinforced with dark iron. The easternmost door cannot be opened from this room, and can only be used to get in from the other side.

73 – The Loop. The U-shaped corridor may be accessed from the middle door of area (72) or the secret passage leading to area (74).



The walls around (A) and (B) are covered with sheets of bronze etched with mysterious runes. Stepping through either one of them from the north triggers the trap: illusions appear immediately behind (A) and (B) giving the impression that the corridor goes on and turns behind them. The doors north of both positions seem to have disappeared.

Walking down south will lead the victims to a U turn. They will then reach either (A) or (B) walking northward from the south. Stepping or jumping through (B) teleports the victim instantly to (A), the facing position having been switched by 180 degrees. There is brief flash showing the real appearance beyond (B) before being teleported to (A), but since the bronze casings around (A) and (B) are virtually identical, it feels like the victim just went through (B) and stepped northward beyond, when in fact it is back at (A), facing south. The effect is identical if you step or jump through (A), which results in a teleportation to (B) with a 180 degrees facing rotation.

The corridor thus feels like a loop, and would seem to look like this on the map:



To reach the eastern door that opens in the room and get outside of the loop, a victim needs to step backwards through (A) to be teleported to (B) facing north. The illusion behind (B) will appear to have dissipated, and the victim will be free to leave the area through the eastern door to (72). Inspecting the area will allow a shrewd explorer to find the secret door leading to area (74), however. There is additionally a 2-in-6 chance to notice it unintentionally due to a slight change in temperature and stench pouring through the closed secret door.

74 – Common grave. This area is similar to (72), and intended as a warning of what is to come with the ghouls at areas (75) and (76). Bodies are also piled in the corridors and empty rooms beyond (northward, next to area 75), pressed against the doors of the tomb, etc. There are also a half dozen tumours scattered throughout this whole area which act in a similar fashion as the cysts in the tomb of the ancient sorcerer at (29).

75 – The Eunuchs. This burial chamber is the resting place of three ghouls, the eunuchs of the two ladies they served in life. This a barren room with very little to find here but remains of organs, perfume and tapestries which are not rotten beyond repair. These ghouls can be called by their ladies from their burial chamber without a word. Whether this is the fruit of some particular pheromone or perfume emanating from the ladies is unclear, but it is quite efficient.

The eunuchs are ghouls with 9, 10 and 10 HP respectively. AC 6. They fight in the ghouls' usual manner, but are especially large and fat for their kind. Their touch does not induce paralyzation as much as it does a complete like of drive and empathy. The effect is very similar for combat purposes, but make a point to describe it in such terms (save against paralization nonetheless). Striking the creatures' bellies will reveal their contents: pieces of soiled silver of ancient manufacture, the payments of their ladies they ate in their greed to satisfy the hunger that consumed their souls long before they were entombed here. Assume each ghoul has ingested around 500 pieces each which could be salvaged after their demise.

76 – The Ladies. This burial chamber is heavily decorated and nigh pristine, as though it had been sealed all this time (this is not true, as the ghouls here would sometimes feast on the cysts and bodies of area 74). The ladies' sarcophagi are the most prominent features here. These are ghouls with 20 HP each (count as 4 HD creatures), AC 6, whose touch does not induce paralyzation like most ghouls', but a variation of a charm effect that make their victims fall in love with them. Treat as Charm Person. Save versus Spells.

The Ladies additionally command the undead of this whole area. They can call to them the Eunuchs at (75), who in turn can gather more undead from area (74). This could flank the characters and lead them to a certain death (hence the various warnings).

The treasure here is significant, in the form of perfumes, balms, pieces of furniture and the like, which would all roughly be worth about 1,000 GP if the room was completely emptied of its content. The clothes of the ladies, with their exotic silks inlaid of silver and gold, the various gemstones embedded in their girdles and the like, could be worth another 1,000 GP, assuming they are left undamaged after the creatures' demise, an unlikely prospect to say the least. Their value could be worth around 250 GP each, otherwise. Roll for a random set of scrolls and potions present in this room as well.

77 – Prismatic room. Can only be accessed to, and not exited from, at this particular location. See area (30) for more information.

78 – The Kobolds' common area. This is the common area of the kobolds who separated from their original clan and joined the bandits under the protection of the Beggar King Oldebert the First.

This area is filthy, with piles of refuse, half-eaten remains of various small animals and the like, no proper bedding to speak of, and an enduring stench mingling various specific smells best left to the DM's imagination. 5-30 Kobolds are present here at all times, as well as a wild boar which is particularly favoured (as a pet would be be under these particular circumstances) by the group. They might be just playing games, resting, eating, or picking on particular individuals they torture and ridicule for their own pleasure. There is actually a 2-in-6 chance that a fight breaks out amongst them just before the characters enter the area.

79 – Lair of the Kobold Chieftain. This leader is slightly taller than the other kobolds of the area, and easily recognizable by the huge feathered head dress he is constantly wearing (imagine a dog-headed witch doctor, Diablo style).



This room isn't much cleaner than the kobolds' common room, but it features various little idols of guardian spirits the kobolds seem to worship and associate with their leader in some fashion. These idols are carved out of whatever materials the kobolds might find, so it would include some clay, stones, wood, and probably some less hygienic raw materials as well. There are dozens of idols scattered throughout the room, with candles lit next to them, little trinkets and tribute left to honour them.

In the middle of the room lies a huge pile of dried animal skulls covered with rat furs which performs the function of seat of power, or throne, for the kobolds.

The kobold chieftain is here 3-in-6 along with his two body guards (treat as goblins with 4 HP, AC 6, 1-6 damage) and two pets (giant weasels held by leather straps). 2-12 subjects of the chieftain are also present in this room at all times.

The kobold chieftain has a collection of shrunken heads stashed away under his throne (he tries to copy the alchemist's experiments at 59 without understanding much of their purpose). Amidst the skulls that make up his thrones can be found a number of personal trinkets and valuables as well, including 54 GP, 28 SP, 18 EP and 275 CP.  A few jars of clay full of flaming oil are also stored here in a corner, to be used by the kobolds in times of need.

80 – The Hatchery. The eggs the kobods took with them when they left their original clan are stored in this area. It is under constant surveillance, as 2-12 kobolds are constantly tending to the eggs' care (they carry no particular treasure).

The main entrances to this area, north to the guard post and south to area (81) are trapped with 20' wide nets hanging from the ceiling. Ropes hanging regularly along the walls of the area are connected to these nets. Pulling the ropes would trigger the nets' release, and could potentially trap characters attempting to flee through these doors (saving throw versus dragon breath to avoid).

81 – The Kobolds' well. This is the kobolds' water supply. 4-in-6 chance to find 1-8 kobolds in this area. In case of trouble, a number of them will flee towards the chieftain's lair at (79). The commotion will surely warn the kobolds of the hatchery (80) of what is going on.

82 – Trapped ceiling, and more traps beyond. This entire area is trapped: walking at any point in the center of the room will trigger a pressure plate which will release a block of stone immediately blocking this room's southern exit. The entire ceiling of the room will then start to slide downward to crush whoever remains stuck here.

Note that the eastern exit to the room is locked, but not blocked. Picking its lock or forcing it open are possible options, though the victims would just follow the trap's assumption. Along the path eastward towards the door leading to (81), several sets of poison darts will be fired at the characters (three, at each point where the walls end abruptly – U turns etc – along the way). Then, assuming they did not find the secret passage to the square room/shortcut, and did not exit this area to enter (81), there are more blocks falling from the ceiling and potentially killing or trapping forever the characters who made this critical mistake.

As noted above, the square room with the two adjacent secret doors is the safe passage here. It leads directly to area (83) and the connections between various sublevels of the complex it represents.

83 – Collapsed room. This room's floor and ceiling both partially collapsed. The waterworks sublevel below and the mezzanine sublevel above are both accessible from this area. The shaft of exposed basaltic rock formations exposed by the collapse have been since covered with a slightly phosphorescent and particularly aggressive variety of brown mold (MM 71). As soon as the characters approach the room they will see the heat of their torches being drained by the mold, their own body heat being immediately affected as well (1-4 damage). There will be a muffled sound, like a balloon inflating, and the light emanating from the mold will become a tad more intense (as the mold feeds on the heat and grows instantly). Entering the room will result in a full exposition to the brown mold (with full damage etc see MM2), and the mold will grow to such an extent as to shut the connection to either one of the sublevels (determine randomly). Any further exposition would close the other passage as well, and potentially cause the mold to grow dramatically and take over the entire room, and beyond. This mold is still very sensitive to cold.

84 – Prismatic Room. See area (30) for more information.

85 – Exit to the surface. Connects the surface and the workshop area close by where resources stolen by the bandits are brought to be taken apart, melted, worked on and the like. Also the passage for the mounts and carts too large for the other entrances to the complex. Note the trip wire/alarm there.

86 – Dog pens. This area is inhabited by quite a few dogs (count a dozen here at all times in pens, with others possibly kept as pets by various level inhabitants of your choosing) of the husky type which the bandits take with them when they are hunting around the volcano (for food or possible intruders and escapees from the level) or expecting to face an opposition warranting their use. Two sleighs are also stored in this room (they are used during the mid-fall to early spring season to carry valuables and game from their hunting when the wilderness is covered with snow). A dog handler is always present in this room. 2-in-6 chance of also having 1-6 bandits present in the room, either going out, coming in, or just hanging around the room taking to the handler or feeding, playing with the dogs.

87 – Lizard stables. These stables house a half-dozen lizard mounts which are practical for the kobolds to roam around the slopes of the volcano. These particular mounts look like overgrown western salamanders, as a matter of fact. They do not perform well in the snow, but they are particularly effective when hunting on or travelling through rough and/or wet terrain, particularly sheer mountain surfaces, swamps and the like.



88 – Stables and machicolations. These are the horses' stables. A dozen horses are present here at all times. The ceiling of this room is particularly interesting, since it is adorned with a particularly elaborate stonework that might betray its purpose to a veteran of sieges: these are machicolations leading to the mezzanine above this level. If the bandits and hobgoblins of this area are aware of an intrusion, they are likely to use these machicolations to pour boiling oil on the intruders once they spot them. They might hold on to save the horses, instead waiting for the intruders to go through area (89) to eliminate them, but if the forces taking the place are too strong or impressive they might change their mind and do away with as many opponents as they possibly can.

89 – Meurtrières. The area linking the hobgoblins' workshop to the stables is a death zone. It has two guard posts on each side from which a variety of projectiles can be shot at intruders via an elaborate system of meurtrières (murder holes) adorning the northern and southern walls. There are also machicolations on the ceiling similar to those of the stables which the guardsmen above might use to pour boiling oil and all manners of bad news on the invaders going through.

90 – The Workshop. This is the hobgoblins' workshop, the place where carts, chests, various manners of pieces of furniture or possessions stolen by the bandits are taken apart to melt or store or reuse for some other purpose.

5-in-6 chances to find hobgoblins (MM 52, 1 sergeant with 2 assistants, plus 2-12 individuals) hard at work in this area.

Note the active teleporter in the NW corner, as well as the round area in the NE surrounding a pit leading to the waterworks sublevel (with a system of pulleys which can be used to lower some loads down there), with a stone staircase around it, affixed to the wall, leading up to the mezzanine sublevel.

91 – Entrance of the gaols. The two portcullis here are always down and can only be lifted up mechanically from inside this space (using a set of levers right next to them). A lone bugbear (5-in-6) is generally standing guard within, though he is occasionally replaced by one of the bandits instead (1-in-6), when he is called to perform other duties, rests away from this place and the like. He doesn't like this duty and is bored to tears. He might be taunted into opening the gates just to be able to get into a good fight.

92 – The gaols. This is the area where the prisoners of the bandits are usually kept (besides the Temple area at 32). Guards from the surveillance room, including the Minotaur from (93) as well as the gaoler himself, are walking back and forth to and from this area, either feeding the prisoners, taunting them in some fashion, or taking them to the torture room and other areas of the complex where they would have to be taken for one reason or the other.

There are nine 10' square cells here. Most of them are empty at this moment, but they could get used fast, when the bandits come back from attacking some convoy or looting some place where they found prisoners worth taking with them, for instance. If the characters are taken alive by the bandits, they will most probably be detained in this area.

Here's a sample of possible prisoners for this area. Don't hesitate to populate the cells with NPCs of your own making. Also note this is the area where Acskamun, the Shaman of the Nu'ana, is supposed to be imprisoned, at least according to Smuhana and the other prisoners at area (32), but he has been taken to be subjected to the experiments of the alchemist since then: his head can be found in Xaelaandder's living quarters at (59).

Talbott of Juilh is a paladin who recently opened a tavern, the White Steed, in the valley. One of the people he employed, a young girl going by the name of Lassa, disappeared in the forest. He had to follow her trail, and was taken prisoner by the bandits.
Lassa is the girl Talbott was searching for in the forest. She was taken prisoner a few days before he did. She's about 15-years of age, and a real brat. Talbott will want to protect her at all costs, since she is his responsibility, even if she misbehaves along the way...
Hasu Masamune is an ogre mage who lost all of his magical powers and searches for a way to reactivate them. He was taken prisoner as he was trying to make his way up the volcano's slope to the fort of the sorcerer-kings. Whatever he knows might be of interest to the characters. He even has the fragment of a map to show them, if they help him, and can get his equipment back from the bandits.
Giurg Nolec  is a thief and a murderer who was fleeing from the noose waiting for him back in the valley. He failed to make his case to the bandits after he was taken trying to strangle one of the guards outside the compound to still some bread, weapons and ammunition. He will try to make himself look like a victim but will probably turn on the characters at some point.
Three warriors of the Nu'ana, who have been deemed unimportant compared to the daughter of Acskamun and her consort at (32), or Acskamun himself who was used for the alchemist's experiments (see area 59 for more information). These warriors could plea for the characters to aid them free these other prisoners from the bandits.

(Alternately, the DM might start PCs as prisoners in this area, and set up an escape situation as the start of the game, the objective being to escape the hideout and/or retrieve some specific possessions, or individuals/allies kept prisoners in the Temple at 32 or elsewhere)

93 - Surveillance room. 2-8 guards are present here at all times. They are led by the goaler, a battle-hardened sergeant (5th level fighter, 38 HP, AC 3, present 4-in-6) and his two henchmen, a Minotaur (MM71, HP 35, AC 6, with a battle axe, present here 5-in-6 if not at 92), and a 3rd level fighter (HP 22, AC 5, remains around this area at all times). The possessions of the prisoners are kept in this room (Talbott's half plate, sword and shield, Hasu's spear and backpack including the map, etc.).  

94 – Living quarters of the gaoler.  This is where the goaler takes some rest. If he is not with his men, this is generally where he can be found. There are a few valuables in this room including a purse containing a dozen rough emeralds each worth about 200 GP, a bag containing iron rations for a week, and another purse containing 24 PP, 48 GP and 5 SP (additionally, the gaoler carries on his person two healing potions, a potion of spider climb, a bastard sword and a banded mail +1 stolen to an elven prisoner who died long since).

95 – Torture room. This is the place where prisoners are tortured by the Malachite's right hand, the Butcher (6th level fighter, 49 HP, AC 5). This half-blooded hobgoblin speaks with a strange exotic accent. He seems himself as something of an expert, a surgeon, as it were, able to take apart bodies with the greatest of skills, an outstanding anatomic knowledge and a dangerously steady hand. He is in charge of the gaols, the worshop, the mezzanine above and the contingent of bandits and hobgoblins managing the main entrance to the bandit hideout at (85). He has a foul temper, and is unforgiving and cruel by nature.

There is a 2-in-6 chance of finding the Butcher in this room torturing some of the bandits prisoners, either trying to extract some useful information out of them, or simply inflicting pain for his own pleasure. If here, he will be aided by two 3rd level fighters while his own lieutenant, a 4th level fighter himself, will be around the common room at (98) managing some business with the guards there (or about in the surrounding areas, including the mezzanine).

The Butcher always carries a few anaesthetic drugs on his person, a couple healing potions, a couple of potions inducing paralysis, some thick gloves made of some exotic fish hide, and some faceted, rough binoculars for precision work. He also fights wielding an impressive-looking, soiled butcher's knife in one hand, and a long, sharp, clean scalpel-like seax knife in the other (treat both as short swords in terms of damage). The seax knife is in fact a +2 intelligent blade with the most debased, vicious personality imaginable. It is extremely shrewd, however, and will try to pervert its wielders rather than controlling them into doing its bidding. It is patient and driven, and knows how to get to the darkest recesses of the mind.



96 – Exit to the docks. This passage leads to the bandit's docks by the shoreline.

97 – The Butcher's living quarters. This is where the Butcher rests a few hours a day. He can be found there about 3-in-6. This is a bare room with a bed. Not much to find there besides a sack with the Butcher's money (a violet garnet worth approximately 500 GP and coin, mostly gold and silver, worth about 80 GP total), some iron rations, a few healing potions (x2), another of water breathing, and an ointment able to clean up wounds and clear them of impurities (may cure poison and disease if applied within a turn after the wound was inflicted).

98 – Common room. This is a common room where the guards of the various areas around (guard post, mezzanine, etc) get together to relax, eat, drink and sleep occasionally. There will always be 2d6 bandits in the area, as well as 1d6 hobgoblins as well. The Butcher's Lieutenant, a 4th level fighter, will be around this area 5-in-6. If you determined the Butcher is presently in his own quarters (see above), then his two 3rd level fighter henchmen are also in this room. Determine monetary possessions randomly.

99 – Staircase to the mezzanine and pit to waterworks. Similar to the NE corner of area (90), there is a round pit in the middle of this room which can be used with a system of pulleys to get access to the waterworks sublevel below. There is also a stone stairway around leading to the mezzanine sublevel above.

Key to be continued...

I've been tearing through this thread today, and I've gotta say this is a gold mine of information and organized really well. It's given me all kinds of creative inspiration. Very cool stuff indeed. Subscribed!

Quote from: Dana;597453I've been tearing through this thread today, and I've gotta say this is a gold mine of information and organized really well. It's given me all kinds of creative inspiration. Very cool stuff indeed. Subscribed!

Thank you very much, Dana! I'm glad the material is useful to your games!

Hopefully, this clears this thread off my unread list in the Control Panel.  

Nice maps, Benny....as always!

Quote from: Sacrificial Lamb;603036Nice maps, Benny....as always!

Thank you, Barry. I appreciate it.

Accepted your invite from G+ and registered.

Great maps all around.  You have a steady hand, Ben.

Hey Rob! Nice to see you here! Welcome. I'm glad you enjoy the maps! More to come, once I get around to it! Hopefully soon.