bug: Pages numbered correctly in books/core

books/core/258.html

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-<h2>CHAPTER CONFLICT ABILITIES</h2>
-<p>When you create an antagonist, consider how they will behave during conflicts.</p>
+<h1>Dungeons</h1>
+<p>Page 110 provides guidelines on how to manage dungeon exploration while playing — but what about preparing those dungeons? How much information will you need? Should you have a map of the location ready?</p>
+<p>To make sure this is clear from the beginning: dungeons aren't necessarily a thing in Fabula Ultima, and you might run an entire campaign without the Player Characters ever entering one.</p>
+
+<h2>A dungeon generally covers one or more of the following functions:</h2>
 <ul>
-    <li>Each Villain has one or more preferred conflict types: some might favor social occasions; others may prefer to engage the heroes in battle. The most obnoxious antagonists are the ones that avoid conflict scenes at all costs — but even then, Ultima Points aren't an infinite resource.</li>
-    <li>To properly challenge the heroes, Villains should be elites or champions (see page 295) or be accompanied by some allies: this is to ensure they can perform multiple actions during each conflict round.</li>
-    <li>Because of their importance, a battle against a Villain should be treated as a <strong>boss fight</strong> (see page 300 for details on how to design one).</li>
+    <li>Slowly eroding the heroes' resources before an important confrontation by having them face several weaker enemies.</li>
+    <li>Telling more about a character, place or people.</li>
+    <li>Rewarding careful exploration with hidden treasures that may prove useful in the dungeon itself or a future situation.</li>
 </ul>
-<p>Powerful antagonists might also be protected by a “plot armor” that prevents Player Characters from fighting them unless they have a specific item, spell, or other assets at their disposal. Generally you don’t want to overdo this — one or two such “tricks” over the course of the entire campaign are more than enough.</p>
+<p>If a dungeon isn't doing any of these, you probably shouldn't have it in your game: "dungeons for the sake of dungeons" is never a good idea.</p>
 
-<h2>AND FINALLY, A DRAMATIC ENTRANCE</h2>
-<p>A Villain’s entrance should be an intense moment that sets the tone for their role in the story. Think of it as a video game cutscene: you get a few seconds to show your audience what this Villain looks like and hint at the kind of forces and weapons at their disposal — soldiers, forgotten technology, powerful magic, or a healthy dose of supernatural strength.</p>
-<p>During your preparation stage before a session, it may be helpful to focus on the reveals key moments — you have to condense everything important in a couple of sentences. It should be something like this:</p>
-<p>Approaching with heavy footfalls, the figure rests a hand on a sword the likes of which you’ve never seen... a delicate gesture, but her grip is steady.</p>
-<p>“It appears we are here for the same reason,” she says. “Unfortunately, I cannot let you have that which I need. Stand back, and no one shall be injured.”</p>
-<p>With a few words, you have communicated that this is likely a proud and honorable adversary who is also very determined. That sword of hers? That’s bad news!</p>
-
-<p>"When you chose to fight not to protect your people, but to prove them wrong... that is what made you a villain."</p>
-<cite>— Philip Forlenza (Order #)</cite>
+<h2>Prepared and Improvised</h2>
+<p>The first distinction we should make is between prepared dungeons (the ones you thought about before the session started) and improvised dungeons (the ones that were introduced as part of the current session).</p>
+<p>While prepared dungeons can be more complex, the ones you have to improvise on the spot will necessarily be simpler — but simple doesn't mean boring.</p>
+<ul>
+    <li>A prepared dungeon allows for all three modes of exploration; most of the time you will rely on dungeon scenes or detailed exploration (page 110), but if the layout of the place isn't important you might even get it done with an interlude scene.</li>
+    <li>An improvised dungeon, on the other hand, will rarely allow for detailed exploration (unless you have a dungeon archive ready; see page 261) and generally fall in the middle between dungeon scenes and interludes.</li>
+</ul>
+<p>Note that this distinction has nothing to do with the importance of the dungeon: a key strategic location might be unexpectedly introduced halfway through a session, and you might know about a minor ruin along the road with no plot relevance weeks before you play through its exploration. Don't worry, we'll deal with this too.</p>
+<p>Philip Forlenza (Order #)</p>