Part 70 Alignment May Vary: Escape from Hell
Situation: As the players destroy the chains around the demon train’s heart, they are forced through a passage that appears in the heart chamber, rushed up to the “brain” of the train, the front car engine room, where an old conductor with pits for eyes (and four eyes that may remind one of Verrick’s four eyes), tells them of their success in freeing him and his desire to help them murder devils. He also explains that Arbeyach has been left behind in a discarded train car, still living in the world that Arbeyach created for himself, but now unable to flee it.
Alyss tells the train their next destination: the tower of Mammon and the conductor smiles in anticipation. She uses her phone device to signal to the rebels where they are and their situation, then lowers herself to the ground to try and heal her hurts. Aldric returns her bike to her in a cool roleplaying moment and realizes that she is developing feelings for Carrick, which grows his enmity towards the Paladin.
The players also heal up: the soul stuff that Ratticus gave them heals their hurts completely and also cures the curse that was left upon them by Arbeyach.
Then, rushing across the desert towards the city and Mammon’s tower, the players have one more obstacle to face: they are waylaid by Hecate in her gunship as she tries to blow apart the demon train.
The demon train fight I’ve set up to be an unusual one: the players are pulled inside the train’s “skin” and actually fight AS the train against the gunship, combining their hitpoints and using the following rules:
Their life force combined makes up their hitpoints. AC is 10. Each turn player can choose either defense, maneuver, or attack (only attack can be multiple players). Hecate fires her ship’s weapons at the beginning of the turn. The player maneuvering through the canyons gets to dodge Hecate, adding to their base AC of 10 by a d20+Dexterity or Wisdom roll. The player on defense can subtract damage by a D20 roll + either constitution or charisma. If no one is on defense, this doesn’t happen. Hecate has the following attacks, and DM either chooses or rolls randomly to determine effect each round:
Missiles: 5 missiles at 6 (1d4+4) each. Instant success.
Dual Lasers: fire twice +13 to hit for 27 (5d10) fire damage
Bombs: Player on maneuver must make a dexterity DC 20 save or else take 39 (6d12) concusive damage, halved on a save. Failure means players roll at disadvantage for all attacks.
Power siphon: a harpoon that steals life. +15 to hit. If it hits, steals 26 (4d12) life, no subtraction.
Then players get to attack. Each player in the attack area can use their normal attacks, using spell slots and all of that as normal, but everything is amplified as the train mimics the attack with its own demonic version (so an attack with Imoaza’s scythe may manifest as clawed hands erupting from the side of the train and tearing into the gunship), adding two more damage dice, but no damage modifiers.
Hecate has 212 hitpoints and AC 19. Her saves are +7. She can’t be affected by conditions. She is immune to poison damage. If there are more than three players, she gets an extra attack for each weapon for every three players.
After a drawn out but dynamic fight where Hecate’s rage builds more and more and her mother, Imoaza, continues to taunt her more and more viciously, Hecate’s ship finally blows an engine and she crashes in the desert.
The players are told to cure up, get a short rest and they’ll be at the vault soon. Mammon interrupts their journey with another psychic visit to his throne room, but the players completely ignore him while he tries to offer deals and a chance to join his side. Like I pointed out before, he’s really grasping at straws here, and they know it. Carrick finally loses his anger, telling Mammon that he’s the lamest devil they’ve come across, and that the players give zero shits about him. Mammon takes the revelation calmly and informs them that they are ants to him, ants he was debating whether to crush or not. But now he’s made his decision. The psychic connection is cut and the players arrive at Mammon’s tower in a fairly spectacular way: the demon train crashes into the side of it, ripping it open, and deposits them inside, as close to the vaults as it can. Then it races off to fight a new, horrible threat, while the Hells Rebels arrive and Puck flies down from the sky to join them in their race to the vault of the crystals.
The Conductor let out a gleeful laugh, the sound odd coming from his weathered and cracked lips and completely out of place with the rest of his austere appearance. “When a demon dies in battle, our souls return to the Abyss! My greatest foe comes. Today I go out in a blaze of glory! Today is the day I go home!”
I’m going to take a break from my structure here to chat for a moment about the difficulty of setting challenge in Dungeons and Dragons, because it is highlighted by the next scene.
I know Xanathar’s guide and the DM’s guide both have different methods for setting and figuring out good difficulty for fights, but you really can’t know how something will go in Dungeons and Dragons until you are playing it. I have three players at level 12. Xanathar’s guide suggests CR 5 monsters will be a decent match for them. I want this vault to be guarded by Abishai tasked with ensuring that those who enter the vaults are worthy, so I pick two black Abishai and a White Abishai (CR 7s and 6, respectively) and run a fight against them as the beasts drop down from among rows of statues of similar looking monsters. It’s a cool set up, the Black Abishai causing the vaults to become shrouded in shadow which then gives the Abishai advantage on their attacks.
But in three rounds, the fight is over: the players wipe the floor with them!
I was ready in case this happened, and have a Green Abishai standing by. He is a CR 15, and he comes into the arena with his fear effect blasting across the room indiscriminately, terrifying not only the players but the surviving White Abishai. This fight is a little more dynamic and long lasting, as Carrick and Imoaza flee in fear and the Abishai takes over Aldric’s mind, commanding him to turn on his fellows. The fight could have gone either way, but a mixture of poor die rolls from the Abishai and Aldric mean Carrick and Imoaza get a moment to break him free from his mind control and turn the tide on the Abishai.
Side note: there is a fun moment where the Abishai leaves a suggestion implanted in Aldric and Imoaza’s mind to flee from him and go stand in a corner, a suggestion that carries on after the Abishai is dead, and leaves Puck and Alyss and Carrick arguing with them to get moving. It’s also where we develop something deeper between Carrick and Imoaza: Carrick uses the bond they established on The Arc to take her hand and break her from the spell’s hold with soft words. Imoaza, not used to feeling anything and with her emotional wall weakened by the suggestion spell, feels a twinge of something for Carrick. It’s upsetting for her and strange, but maybe a little exciting too. Alyss catches the moment and believes that Carrick and Imoaza are already a “thing” setting us up for all sorts of romantic comedy action later... if we want to go there.
After all of this, the players rush back to the hole caused by the Demon Train, Alyss having stored a ton of crystals in a bag of holding, and leap out of the hole onto The Arc, which swoops down to catch them. The monster the train was fighting (in fact, died fighting, its soul returned to the Abyss) was none other than Tiamet, Queen of the Dragons.
A ridiculously tough beast, I know the players can’t defeat her in a fair fight. I use her toned down stats from the Rise of Tiamet final fight, but even then this is a beast capable of one-shoting an entire party with a single breath attack. And yet Aldric also hits like a beast, able to take off over 40 hitpoints each turn he attacks something. So I have to do a lot of tweaking as the fight progresses in order to achieve what I want this scene to achieve: a crazy final fight as the party flees from Hell.
Captain Krisp ran around the deck of The Arc, shouting orders. His generals and confidants: Ikbaldi the Barbarian, Star the Tiefling, Tinia the Cleric, Otto the Warlock, Jacobs his First Mate, and Geth the Rogue, all leaped to their battle stations, manning guns and turrets and swiveling them all to point at the rear of the ship as Tiamet crashed into them, her claws and talons wrapping around The Arc and hugging it close to her like a cat about to tear into a trapped mouse. Her five heads darted and dove down at the ship, tearing metal and wood apart, dodging bullets (or seeming to ignore them) as the gunners launched assault after assault upon her, raining down a barrage that would have destroyed a fortress. Aldric, Imoaza, and Carrick stood their ground on deck, Aldric laughing as gleefully as ever the Demon Train had at the prospect of facing such a mighty foe. He ran forward and leaped towards the nearest head, even as it swung around to regard him with fire in its eyes.
I recently did a podcast where I talked about setting difficulty for encounters in DnD 5e. In it, I come to the conclusion that one of the best ways to go about creating good encounters is to let the game world and your plot tell you what needs to be where and to worry about the challenge afterwards. Basically, don’t build with numbers: build with story.
In this case, I know I want Tiamet to be the final fight and I want it to be tough, really more of a feel of surviving a siege than a fist fight with a god where they are going to knock her out. Tiamet is (and rightfully so) way above their pay grade. But I also don’t want the fight to be impossible or a straight party kill. That’s why I have Krisp’s team launching barrages of attacks at her, and also why Puck steps in to use some pretty incredible high level magic to shield and block the worst of Tiamet’s attacks (we don’t yet know the limits of Puck’s powers, but the effort does seem to wear him down).
I also don’t want this to be a fight without consequences, so I let the situation and character choice determine where the danger is. For instance, I let the players roll damage for all the gun barrages being launched each turn. I don’t use all of Tiamet’s legendary breath attacks. And when she does unleash her attacks, I make one of them poison (which Imoaza is immune to). Even when she finally unleashes her signature fire breath, rather than make it about pure numbers, where Tiamet’s attacks are left at their full power, I use Puck to reduce damage to a more reasonable place for the player level. I also really focus my attacks on Aldric, who is insistent on taking on Tiamet directly, which to me is letting the player character steer this fight. Aldric is playing it like a crazed bad ass, which means he’s drawing the focus of the attacks. After lasting two orounds in close quarters with Tiamet, he does fall unconscious, and here is where Krisp finally rushes forward with a rocket launcher, lobs a missile into Tiamet’s mouth, and calls to everyone to get below deck, that he’s got a final plan.
There is one last challenge I place here. In order to let Carrick grab Aldric and flee, Imoaza places herself in the line of danger to distract Tiamet for one more round. This works, but then Imoaza has one chance, one dodging roll, to get away from Tiamet before she gets hit by a bite attack from the Goddess of Dragons. She makes the roll, but had she failed, the damage certainly would have killed her and we would have to roll up a new character. It’s a moment that creates the mood I want, it takes this fight from the status of story battle to one of real consequence and danger, but I don’t just throw it in: it’s set by player decision and action.
Imoaza rolled forward through the open hatch leading into the belly of The Arc, jaws snapping shut behind her in a rush of hot air and sparks. She stumbled to her feet and kept running as the jaws tried to force their way through the narrow opening.
She soon caught up with Carrick and Krisp and Krisp’s commanders. Aldric was coming to, having been cured by Carrick’s magic. Krisp was yelling into a phone: “Alyss, is everything ready? The crystals are in place? Good! Then let’s do this!”
Krisp--talking a mile a minute about how everything had to come together in a spectacular fashion in order to make this all work and about how hell was never going to be his forever home--leads them down to the hold of The Arc, where the bottom of the ship has opened up to reveal The Surveyor’s repaired massive ship flying beneath them. Krisp tells everyone to jump down, and crew and commanders alike rush to obey, Carrick and Imoaza joining them. Last to go is Aldric and Krisp himself, who stands for a moment looking around the now empty hold.
“She was a good girl,” Krisp says, his voice uncharacteristically sad. “She served well. I’ll be sorry to lose her.” Aldric places a hand on his shoulder. “As a fellow captain, I know what it’s like to lose something. To lose your mount.”
Krisp smiles. “Well, if we are going to lose her, let’s let the girl go out in style, eh?”
He pulls a device with a large red button on it from his waistcoat, then pushes the button. He grabs Aldric and leaps out of the hold with him, shouting his catchphrase: “Let’s get Krispy!”
And behind them, there is a sudden roar as The Arc explodes in a ball of intense flame, engulfing Tiamet who is still wrestling with her prize. They do not see if it is the end of the Dragon Goddess, for they are pulled inside the Surveyor’s Ship and the hatches battened down behind them, and then there is a sudden jolt as the ship, their new Arc, blasts out from the atmosphere and leaves the world of Hell behind, for the vastness of space, and the first step on the long journey home.
Somewhere out in the blasted desert of Hell, Hecate pulls herself from the crash of her ship and rolls onto the hot red rock. She coughs up black tar and smoke and wheezes as she sucks in clean air. Her eyes are slits of rage as she looks towards the city where her foes disappeared. She shakes a fist of rage towards the sky as she manuevers her snake away from her crashed gun ship.
“Mother!” she screams. “I will have my revenge!”
And then, unexpectedly, a voice answers her from behind. She turns and sees something unusual discarded on the rock behind her, a sword, black as night, and emanating all the power that it had promised to its last bearer, before Aldric lost it and Carrick refused to bring it back. Blackrazor speaks to Hecate, and its voice is pure menace:
“Did I hear you say revenge?
