There's a variety of techniques to keying locations, from the ultra minimalism found in some of the first published adventures, to boxed text designed originally for tournament adventures, and bullet points or other, mixed types of formalism. Keys are the basic building block of adventure design, information that the designer believes most important to understanding the location, provided in a way to allow the reader to run the adventure. With the larger elements of the adventure: map, concept and basic structure in place, or at least not actively working against the dungeon crawl play-style, the core of the design process is in the individual location keys. random encounters, timekeeping, meaningful encumbrance, and lighting) the question of “how does one design a dungeon that facilitates exploration play” remains. reward dungeon crawl.īeyond modifying or including rules that better encourage exploration play (e.g. Because of these inclusions, it’s easier to conceive of the The Dungeon of the Dead Three as a classic dungeon, and despite its designers clear intent for it to play very differently, one can interrogate it in the context of running a resources, risk v. Here of course that’s focused on a sewer, which unfortunately is also a popular video game cliche, but at least it avoids including wererats. Yet, despite disfavoring an exploration playstyle (which is hard not to with the 5th Edition of Dungeons & Dragons mechanics) Dungeon of the Dead Three includes many aspects that superficially make it appear to be a classic dungeon: a looping map that includes empty or nonessential rooms, traps and secret doors as well as a traditional feeling of the dungeon crawl - the infiltration or exploration of close corridors in an alien underworld. The Dungeon of the Dead Three in particular deserves a closer look, because of anything within Descent it is most like a classic dungeon crawl, and seems to want to evoke the feeling of one - even if it pays no attention to the exploration elements of timekeeping, supply or risk management. Still, The Dungeon of the Dead Three and Descent into Avernus in general show care and creativity, and the contents of the individual keyed areas within it can be evocative enough that even a reader who doesn’t like the encounter based playstyle must recognize that Descent’s design choices are intentional. This is obviously a very different play style then the classic dungeon crawl, and it seeks to produce predictable narrative moments at every opportunity - willingly sacrificing many aspects that define the classic dungeon crawl to do so. The Dungeon of the Dead Three is the last of these: a selection of encounters partitioned off from the location largely as a means of introducing or ending them each with filmic or novelistic flair - to create a predesigned “moment” of gameplay.
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