Saturday, December 25, 2021

Temple of the Bat

Scale: 10 ft.
Click HERE for a PDF version of this adventure!

Suitable for 2nd level characters.

A little keyhole icon means the door is locked.
A little "S" through the door means the door is secret.
The other icon - which is supposed to look like a muscly arm - indicates the door is stuck and must be forced open.

Headpiece with a Bat-Like Creature; Edouard de Beaumont

A - The Ledge

A1 - Thirsting Effigy

Above a deep defile, a narrow road winds along the mountainside. Flanking the road are steep edges, stone and scree, with the occasional dead or dormant vine: sinking its roots into barren earth. Nestled in the cliff face is a shallow cave - planted in which is a carved statue of a giant fanged bat. Beneath the bat, on the ground - having been cast aside - is a stone bowl. If blood is spilled into the bowl and lifted to the mouth of the statue, the blood will drain, the statue's eyes will flash, and all characters within 20 feet of the statue are transported into B1, by the hanging statue in the south corner.

Two Lizard Men (B38), traveling, have taken refuge in the alcove and are resting.

A2 - Secret Entrance

Dead shrubs cling to the walls of the ravine; anchoring scree and soil. Beneath a thicket here marked is a suspiciously solid slab of stone hidden behind a set of bushes, the stem of which is at its head. The vine is artificial - and if the stem is turned counter-clockwise and then shifted left, it will allow the slab to slide downward into a hidden compartment, opening the secret door.

B - Atrium

B1 - Grand Hall

In the south-east corner, a statue of a bat - identical to the one in A1 - hangs upside down from the ceiling. Characters able to "feed" the bat in the same manner of the statue in A1 will be teleported back to A1. Hanging north-west of the statue, closer to the center of the hall, are three live Giant Bats (B31).

B2 - The Cage

Behind a barred section is a large statue of a bat. Its face has been damaged, one fang is broken and missing, along with half of its face and part of one wing.

B3 - South Entry

An orb sits on a pedestal, half visible, in the center of the room, a slight glow emitting from underneath as though it sits in a concave bowl. If it is turned, the glow increases - and if it is turned quickly, it emits a bright flash. All characters exposed to the flash must Save or be blinded for 1d4 hours.

B4 - North Entry

A faint smell of guano infuses this room. To the north, a hole appears to have been smashed through the wall - leading to B6. The occupants of B6 may notice if a party enters B4 prior to encountering them otherwise.

B5 - Temple

In the center of this room, an eight pointed star is embossed into the floor - forming small rivulets in the floor. The ceiling is taller than in other corridors and rooms - 20 feet - and from it hangs a Gargoyle (B35) - the appearance of which is of a stone bat. In its chest is an eight-sided emerald (worth 300 gp). If the emerald is placed in the center of the star on the floor, the rivulets light up before the center of the star rises from the floor, revealing a strongbox. Design for a Beetle Shaped Pendant; Jean Toutin The strongbox is chained to a peg in its alcove and locked - however inside can be found 3,000 electrum pieces, five rubies worth 30 gp each, and two topaz worth 25 gp each. 

B6 - Cave In

This short tunnel appears to be the result of a collapse of soil, undermining the walls of the northern part of the dungeon. Entrances to this space are gaps in the walls, but care must be taken to get in - as the rubble is treacherous.

Inside the tunnel, 4 Fire Beetles (B31) are munching on three dead adventurers. Among the possessions of the corpses is a satchel containing 700 silver pieces and a diamond necklace worth 900 gp.

C - North Wing

C1 - Oratory

Braced against the south door is a sizable wooden stand, one used for standing and speaking, as at a commencement. Along the north and south walls are brightly colored mosaics depicting the sunset.

C2 - Treasure Table

Nine Skeletons (B42) guard 12 brass figurines (10 gp value each) and a jade bat (100 gp) placed on an eight-sided table.

C3 - Freeze Dried

This hallway is oddly cold. If the characters proceed all the way through to the other end, depending on which way they entered, they will emerge with frost on their hair - and any rations on their person will have transmuted to iron rations, instead.

C4 - Dry Fountain

A dry fountain sits in the corner, a grotesque facing both south and west. Their mouths are open, large enough to fit a hand into. A character reaching into the west mouth will find a rotating handle; which, if turned clockwise, will unlock the base of the fountain. When unlocked, the fountain - also - can be turned clockwise, causing the bottom to fall out and reveal a small horde:

  •  1,000 sp
  • 300 gp
  • 1 Topaz (50 gp value)
  • 1 Diamond (500 gp value)

Turning the handle counter-clockwise will cause the mouth to shriek - a metal on metal noise - prompting an immediate wandering monster.

Grotesque Jug; Yolande Delasser

In the south facing mouth, a similar lever. It will not turn clockwise, but if turned counter clockwise, will also produce the same metal shriek: also prompting a wandering monster.

C5 - Statuary

Statues depicting robed figures - some with the faces of bats - line the east and west walls. On the north side, the wall has caved in. The room is otherwise empty.

C6 - Feeding Room

The walls are lined with aging but still luxuriant velvet. Books, shredded, line the floor and a lone Ghoul (B35) feeds on a dead Elf. The Elf is carrying 900 sp, wearing a pair of bejeweled bracers worth 400 gp total, and possesses magical Chainmail. The armor is cursed - providing AC 9 and refusing to be removed from a new wearer without a Remove Curse spell or similar magic.

D - South Wing

D1 - Ruined Sanctum

As the party enters, a spectral procession is moving to the north west: acolytes behind and a leader in the front. They are incorporeal and unaware of the world around them: if interrupted by magical means, they will disappear; if allowed to proceed, they will complete a short sacrament where fruit is placed in a bowl. Shortly after the sacrament completes, the procession disappears.

The bowl and altar remain, but the room is full of broken furniture, otherwise. If the party leaves an offering in it, the Gargoyle in B5 will not attack them if they enter - instead clinging to the ceiling, motionless. It will defend itself if attacked, however.

D2 - Bat Tunnel

The secret doors into and out of this space are obvious and easy to open from within this space. Two Giant Bats (B31) have made it their roost.

D3 - Abandoned Confessional

Four boxes - man sized - line the south wall. One conceals the secret door to D5. North, there are instruments of penance - long unused - and some broken wood furnishings.

Enormous Spider Crab; Alphonse de Neuville
D4 - Pit Trap

The hallway at this point conceals a 20 foot pit trap. At the bottom of the trap are three skeletons - victims of a fall. Between them, they have 1,100 silver pieces, 400 gold pieces, and a single magical Sword (+1).

D5 - Spider Tunnel

Doors to this room are obvious and accessible from this side. At the point in this narrow escape tunnel where it widens from 5 feet to 10 feet, a lonely Rhagodessa (X38) lurks in wait, hiding on the ceiling in the corner.


Public domain artwork retrieved from OldBookIllustrations.com and the National Gallery of Art and adapted for thematic use. Attribution in alt text.

Saturday, December 11, 2021

Being Creative During the Holidays

In the Cupboard; Henry Justice Ford
A Conversation with the Author

I have a busy life. Folks who have hung around for a bit invariably know that I've got a set of twins - it's in the biopic after all - as well as a full time job and (as of recently) another little guy on the way. December has come - it's almost halfway done, as of when this post should publish - and, this time of year, most of you, dear readers, can identify this problem.

Despite the responsibilities I have - I've still run this blog, posted something every week, started a podcast, and occasionally even found time to run a game or two. Because of that, I've been asked a couple times by friends about what I do differently to manage my time - and I wanted to post the highlights from those conversations here, hoping that maybe - for those of you out there having trouble keeping your game together during the busy holiday season, hopefully this may be a way to keep that creativity flowing and keep the spirit of the game alive for you. 

And for those of you with whom I've had these kind of conversations - if the below article sounds familiar, it should! Thank you for pinging me, for your trust, and thank you for sharing your experiences with me: both so I can incorporate some of your successes into my own process but also to spur me into putting it all into words, for the benefit of the wider internet.

Happy holidays, everybody!

Find Time For Yourself

First and foremost - you have to find time for your creative outlet.

This seems blasé - something you'd see posted in the 00's, white on a black border around some picture of a waterfall or bird; or something you'd see embroidered on a wall hanging next to the equivalent hurl-bait to "Live Laugh Love" - but it doesn't mean (or, isn't intended to mean) what you may think it does on initial impression. Finding time for yourself does not mean prioritizing yourself or your hobby over your obligations - instead, it means literally that: finding the time on the schedule, on the clock, that isn't taken up by other, more important things.

For the first year of my boys' life - or, the year starting after the point where they started sleeping through the night - that time was 8 PM. They would fall asleep around 8, I would have an hour or so of time to myself, and then I would try to go to sleep at 9.

Time Opens the Gates of Dawn; Frederick Cayley Robinson
Time Opens the Gates of Dawn

9 PM? Really, grandpa? Yes - because the other "finding time for myself" activity, cardio exercise, can only happen early in the morning, before my wife wakes up. But I digress.

So what did that mean for me - I had to schedule creative time, game time, to hit on or after 8 PM: because that's the point that the twins went down, my wife would try to wind down, and I'd have some time to myself, free time, which I could spend either doing dishes or gaming. And dishes can wait. 

Your time may be different. You may have some time in the afternoon where your distractions sleep; you may have some time in the morning before your obligations start. But that's the name of the game - figure out when that time is going to be and then have the discipline to jump on it. Time-boxing those hours, dog-earing those hours, to try to get your hobby done is the best way to make sure it does.

Break Creative Projects Down

8 to 9 PM is only an hour. Is it possible to run a game in that short a span? It can be - depending on the way you play - but if I am being honest, I don't play that way. The games I have been able to participate in over the last few years have definitely pushed me past my bedtime. To accommodate - I've either gotten up late or doubled down on coffee the next day. But as rough as that sounds - it only applies in certain circumstances - the next huge thing that has kept me going is breaking projects down.

When working on your home setting - you won't be able to draw a hex map and stock a hex map in the same day. This is wisdom outside crunch time - with maps, with dungeons, and with life, it's best to stay one step ahead: prep to about a session and a half out from where the party currently is and play. Knowing that you're going to incrementally prep - apply the same theory to the item under preparation. If you're building a dungeon - for example - break it down into actionable tasks: 

The Path to the Moon; William Thomas Horton

  • Draw map
  • Determine corridor traps
  • Define themed wandering monster list
  • Stock section A
  • Stock section B

...and so on.

These actionable items should be doable, finite tasks with definitive end artifacts. "When I have produced this, I will have completed this corresponding bullet point," so to speak. Once all the bullet points have been put together - you'll have your completed product.

Doesn't that run the risk of feeling tonally different, knowing you're going to be in different mindsets between start and finish? Yes. Look at Watchtower on the Indigo River. There is a palpable difference - in my opinion - between the stocking of the different adventure sites and wilderness. Knowing that, it becomes important to have an editorial read-through: a final task in your task list to come at it, read through it, and ensure tonal consistency. With Watchtower, I expect I'll have to re-do several of the maps - they are slightly different in symbology - and I'll want to re-stock - more emphasis on frog-men and the undead; less "got to include this entry from the Monster Manual!" But that will come with time: and will happen just before a final play-test.

Hopefully.

But when you're working on a smaller project - one which doesn't spread over the course of essentially your blog's entire lifespan - having four or five sections will take four or five sessions to map, stock, and finalize enough for beta: it will be easier to keep tonal consistency - especially if you find some music or other inspiration to consume in the background while working.

Take Notes On the Go

Chateau Ultime; William Thomas Horton
I have a file on my Desktop - "Elf Mansion Dream.txt."

Last May, I had a very gonzo dream - one that dove into my fears and perceptions of my own failings, but transformed into a mostly cohesive narrative about a protagonist (it was originally me, but by the middle, it was a bit disembodied) who had to deal with responsibility, temptation, and then forcible injection into reality after a season-long emotional affair with a strange, supernatural entity: one which faded from him after his attempt to codify the ethereal, to tame the unbreakable wild, germinated the seed buried deep in her consciousness that had always served as a blemish to highlight fundamental incompatibility of the real and the beyond.

Less dramatically, I also have a file on my Desktop - "To Message.txt" - which contains notes on call-ins I want to make to other people's podcasts. The point is, Notepad is your friend: as are other tools that allow you to take notes in the moment when inspiration has hit, but when you have other things you need to do.

Google Keep and voice-to-text - in this sense - is my best friend. I have a Christmas list on it - a list of things I see and the names of people I think would like it; I have a grocery list on it - shared with my wife so she can see what's there, think about adding what she needs, and then write it down on a post it note that she doesn't share while I'm at Publix instead; and I have several RPG-related notes saved. Am I selling you Google Keep? Not intentionally - but it's backed up, I can access it cross-platform, and I have an Android device. The key - if I have a cool idea, or if I want to make a new podcast episode about a subject, I can write it down when I have the idea and then come back to it later for implementation.

To that end - the benefit: you never know when inspiration will strike - and when it does, you can't guarantee you'll be in the middle of doing something from which you can't get away. Having the ability to jot notes down - class lecture notes: not the meat of what you think, but pointers that will activate your brain cells to re-think the same ideas, to remember where you were, mentally, when you came up with them. Sometimes, the notes you jot down in the middle of a workout or on a smoke break at work become the task bullets on your next time-boxed personal time.

And maybe one day you too will write that sappy Harlequin novel that your brain conjured up in unconscious delirium and then, on waking, thought was neat enough to catalog.

Keep a Backlog of Creative Ideas

Related to the above, don't be afraid to keep ideas on the back burner. Recall earlier, I mentioned that the way to make a project come to completion is to break it into doable pieces and then have the discipline to execute on each of the pieces so that you can stitch them together at the end.

One of the things that happens to me - at least - and I've seen it in other people on occasion: if I'm not being productive, or not being as productive as I want to be, or if something I thought was going to be great turns into a flop, I can get discouraged - I can lose the motivation to create. I can lose the interest I had in a project - and I find myself pulling back, pulling out of games I would normally have played in, not committing to projects that I would have normally been gung-ho about. While burnout can be a thing - I'm not saying that you don't need to take a break, play something else on occasion to keep the flame burning, the passion stoked, for your hobbies - but pulling away can be a self-perpetuating cycle. How many blogs have you seen start and then suddenly stop posting? How many YouTube channels have 10 followers, 4 videos, and no updates in 3 years?

Don't let it happen to you.

Keep a backlog of creative ideas - keep a list of things you'd like to do - so when the doldrums come, you can pivot. You can change your focus, stay in the hobby, stay in the swing, but you can take a break from the stuff that's not bringing you joy. As of this writing, I have 15 blog posts in Draft: some of which have nothing in them but the title and maybe a line to clarify what I was thinking when I wrote it. I have 3 podcast subjects I'd like to address and 5 guests I'd like to have appear: one of whom I've talked to about it and am working through scheduling. I have those backlog items because I know a week is going to come when I'm not feeling it and, when that happens, Time Dried the Tears; Mary Hallock Foote I'll have a list to pick from to keep my mind occupied - and to keep the creativity flowing, keep the motivation fresh, lest the spring run dry. 

Stick With It

For me, at least - and I assume there are others like me - creativity is easier when it's constant. Behaviors are easier when they become habits; if I leave a project, game, or hobby for long enough, the inertia will keep me out of it - and conversely, the more I engage, the more I work on it, the more easy it is for me to keep going, to produce, and to improve. Knowing that - I don't let myself rest: and I would advise you consider the same.

With a backlog of items, per the above advice, you're never at a loss for something to work on - and having small projects can be the difference between feeling dead in the water and feeling like you're smooth sailing. That big project with 30 task points in it got you down after the first 7? That's alright - take a break from that big project: give yourself some little wins and don't let the intimidation of the last 23 items tear down your love of the project.

Keep trying.

Keep playing.

Keep creating.

The enemy is letting life keep you down - and though sometimes life will put you down: childbirth, for example, may from experience put a dent in your gaming schedule - but there is always either a way around or a way through.

And Them's My Two Coppers

Find the time, break and schedule such that it fits into the time you found, find and use tools to help keep you moving, and - most importantly - stick with it.

Delve on, readers - even through this busy season!

Brown Ale He Quaffed; Mary Hallock Foote

Public domain artwork retrieved from OldBookIllustrations.com and adapted for thematic use. Attributions in alt text.

Wednesday, December 8, 2021

I Hate Health Potions


Anchor.fm/Clerics-Wear-Ringmail:
Episode 12 - I Hate Health Potions

(Or on YouTube!)

Description

I hate health potions and so should you! For the next half an hour, I explain why.

Then some call ins!

Want to join the conversation? Drop me a message: https://anchor.fm/clerics-wear-ringmail !

Theme Music by XTaKeRux, Free Music Archive: https://freemusicarchive.org/music/XTaKeRuX

Show Notes

  • 00:00 - Intro
  • 00:27 - Theme
  • 00:54 - Three Arguments Against Health Potions
  • 01:43 - Short Circuiting the Full Experience
  • 06:53 - Bastardizing the Cleric Archetype
  • 11:14 - You Should Listen to Tale of the Manticore!
  • 11:49 - Pounding the Point Home
  • 14:34 - Cleric as Physician and the Loss of Roleplay Opportunity
  • 18:04 - Implications to the Fiction
  • 22:28 - Conclusions on the Main Topic
  • 23:07 - Call In: Joe "Huggsie" Richter!
  • 28:49 - Call In: Karl Rodriguez!
  • 34:30 - Call In: Randy of Biggus Geekus!
  • 36:24 - Outro
  • 36:40 - Theme and Legalese

    Links

    Karl of The GMOlogist Presents: https://anchor.fm/karl-rodriguez

    Joe of Hindsightless: https://anchor.fm/joe-richter9/

    Randy of Biggus Geekus: https://anchor.fm/biggusgeekus

        ...or on YouTube: https://www.youtube.com/channel/UCyVze8TfIB16j0PdmE4lOJg

    Saturday, December 4, 2021

    Second Grid Initiative

    In a recent episode of Nerd's Variety RPG Podcast, the host Jason had called for listeners - on reward of a DriveThru gift card - to call in and speak to their preferred initiative system when playing RPGs. I did not win - congratulations to the winner! - because Jason disqualified everyone of whose rugged and dashing good looks he was envious - but I did call in and I did speak to an initiative system that I used in an old homebrew - one which I called the Second Grid.

    While, admittedly, this rule was used for a more action-themed RPG, where combatants in a melee act individually rather than by side, as with most OSR systems: it still may have its place to inspire - see below, an adaptation of the rule from the homebrew that fits within an OSR framework.

    See as follows, copied and pasted from that old homebrew, with bits renamed or mildly rejiggered to reflect B/X attributes and terminology:

    Sleeping Genie and Lady; John Tenniel

    Action Points

    Each character has a number of Action Points equal to 2, modified by the character's Dexterity, to a minimum of 1.

    Thus, a character with a Dexterity of 16 would have 4 Action Points where a character with a Dexterity of 5 would instead only have 1.

    Order of Action

    Order of actions in a Combat are determined by the Second Grid. Each character – on its Initiative – declares an action and spends a number of Action Points proportional to the task being accomplished.

    •  If the AP cost of the action is equal to or less than the Action Point pool of the acting character, the action is resolved immediately.

    • If the AP cost of the action is greater than the Action Point pool of the acting character, the action is resolved at the top of the character's next Initiative.

    Note, a character performing an action that requires more AP than in the pool, thus, may be interrupted or may find their target has moved when the swing falls!

    This concluding the action, the referee marks down the number of Action Points spent. Note, the character’s AP pool is not reduced – instead, a running tally of how many each combatant has spent total is maintained. At this junction, the referee checks to see which combatant has the smallest total – thus, has spent the fewest Action Points. That character takes the Initiative – it is that character's turn to act.

    Continue in this fashion until combat is concluded.

    Ties in Initiative

    At the start of a combat, all characters will have 0 AP spent. To break the tie and start the combat, each character should roll 1d6, modified by Dexterity, and the referee should roll 1d6 for all enemy groups - sorted logically. The winner of the roll goes first, then chooses to whom to pass the Initiative after. 

    The referee should record names to tally Action Points in this order. 

    Subsequently, if two characters have the same total actions spent – the referee is encouraged to go in the same order as had been established at onset.

    On Your Initiative

    When a character is in the position of having spent the fewest actions (or having been determined as such in the tie-breaker) - they are considered to have the Initiative and may take an action. These actions are, basically, as follow.

    Move

    A character may move up to their tactical movement; half, if moving over difficult terrain. Moving costs 1 AP. 

    A Blow on the Head; Albert Robida

    If moving in a straight line - the character may declare a Charge. When charging, a character may make an attack as part of the move: combing the two and spending AP proportional to both - thus, moving alone would cost 1 AP, but charging with a sword strike would cost 3 (per the Attack rule below). Likewise, generally speaking, a charge should resolve immediately - not after - representing the momentum of the swing.

    Attack

    A character may make an attack.

    • An unarmed strike costs 1 AP.
    • A one-handed melee weapon strike costs 2 AP.
      A quick-reload weapon shot, such as a bow or most thrown weapons, also costs 2 AP.
    • A two-handed melee weapon strike costs 3 AP.
      A slow-reload or wind-up weapon shot, such as a sling or crossbow, also costs 3 AP.

    Dropping a weapon - that is, letting it fall to the floor at your feet - is a free (0 Action Point cost) action.

    Access Inventory

    A character may attempt to access items in their equipment as an action.

    • Un-sheathing a weapon costs 1 AP.
    • Easy-to-access items, such as belt pouches, cost 2 AP.
    • Sheathing a weapon costs 3 AP.
      Placing an item in an easy-to-access space likewise costs 3 AP.
    • Stowed items, such as the backpack, cost 4 AP - both to place and retrieve.

    Cast a Spell

    A character may cast a spell in combat. The AP cost of the spell is 1 plus the spell level: so, Sleep (a level 1 spell) would cost 2 AP where Cure Disease (a 3rd level spell) would cost 4.

    Optionally, all spells - regardless of Action Points - manifest at the top of the casting character's next Initiative, allowing for strategic interruption.

    Still Is Sitting; John Tenniel

    Miscellaneous Actions

    This action list is by necessity not exclusive - as the creativity of a player out-paces the margins of this text. In the event of a player action not falling into the above categories, the referee is encouraged to make a ruling according to what makes sense.

    That said, when in doubt: 3 AP.


    Why is this called "The Second Grid"?

    The reason this is known as the Second Grid – the referee is encouraged to put graph paper down, writing the names of each combatant on lines. Then, for each action point – put an X or a check through a box to the right of the name. This way, it’s very easy for the referee – visually – to determine who has spent the least and thus has the Initiative. 

    Below, provided, an example of play - combat between a warrior and wizard ambushed by a squad of kobolds:

    Two adventurers, a Warrior and a Wizard, are delving along a cavern corridor when they come across a group of small, snarling dog-men - Kobolds! Roll for initiative!

    Ref: Initiative rolls please?

    Warrior: 6!

    Wizard: 3...

    Ref: Alright - I rolled a 5, Warrior - the initiative is yours.


    Warrior: How many do I see?

    Ref: Five - armed with spears and shields, but wearing no other armor.

    Warrior: Kobolds are chumps! With my zweihander at the ready, I charge the group!

    Warrior rolls, hits,
    and inflicts damage.


    Ref: One of the kobolds goes down. Who's next, Warrior?

    Warrior: I'll pass to the Wizard.


    Ref: Wizard - you're up.

    Wizard: Are they carrying ranged weapons that I can see?

    Ref: No - only flint-headed half-spears.

    Wizard: Alright. I'm going to move backward - up towards the ledge - get out of the way. Warrior's got this.


    Ref: Alright - it's the kobolds' go.

    Remaining kobolds attack the warrior. Two hit - 6 damage.

    Warrior: With flint-headed spears?


    Ref: You're the one who charged in outnumbered!


    Ref: Wizard - you're up.

    Wizard: I'm casting Sleep.

    Warrior: Don't waste Sleep on these guys! It was lucky rolling.

    Wizard: There are too many of them. Too many chances for luck to strike again!

    Ref: Ok - it's the kobolds again...

    Warrior: Do I get another turn?

    Ref: Yes - but because of your charge and the big weapon, they're moving more quickly than you are to react.

    Warrior: Gotcha.

    Remaining kobolds attack again.
    One hit - 2 damage.



    Ref: Wizard, you're up again - so your spell goes off.

    Wizard rolls for hit dice.
    Remaining kobolds all fall into deep slumber.

    Wizard: Time for some throat-slitting; grateful for that spell yet?

    Warrior: Nope.
     

    What do you think? 

    Dynamic and intriguing, lending a tactical aspect to otherwise an formulaic combat experience? Or a bad excuse to justify how much money I spent on miniatures back in the day? 

    Let me know! 

    Delve on, readers!

    Shriek of Timidity; Gustave Dore

    Public domain artwork retrieved from OldBookIllustrations.com and adapted for thematic use. Attributions in alt text.

    Saturday, November 27, 2021

    The Heqet

    Flies and bugs and fish come up,
    but the toad, it floats and haws.

    Flies and bugs and fish swim up,
    but the toad, cold blood gives pause.

    The mun'gu said that the stars were lining;
    the mun'gu says while the spears are shining;
    and Zuzu calls.

    Flies and bugs and fish draw up,
    while the toad sharpens his claws.

    - Excerpt from the Third Song of the Sunken Choir

    Slimy Skin and Brumal Blood

    The Heqet are small – four feet high on average – but heavy, possessing cords of sinuous muscle to rival the strength of a man half again their stature. They take the visage of frog-like creatures, their legs and arms spindly – no neck – belying considerable strength. They are cold blooded, and thus move little, but breed rapidly, as true frogs. They can croak, but are often quiet, and take advantage of their aquatic propensities whenever able. 

    The Heqet speak their own language - incorporating clicks and croaks of various tones that are difficult for Humans or Demihumans to imitate.

    Encountering the Heqet

    Socially, the Heqet congregate in four categorical types: the nature of these types - and the four ways in which the Heqet can be encountered - determines the number appearing:

    Enc. Type Chance Scouts Breeders Mundunugu Toadlings
    In Lair 20%* 3d6 x 10
    3d6
    2d4 2d4 x 5
    Patrol 3-in-6 3d10 1d4-1 ~ 2d6
    Pilgrimage 2-in-6 2d10 1d4-1 1d4+1 2d4
    War Party 1-in-6 3d6 x 5
    1d4 2d4 2d10-2

    Lair chance is 20% for the Heqet - probabilities given for different encounter types are used when the encounter occurs outside the lair of the Heqet.

    Two Bulls and the Frog; J. J. Grandville
    Amphibious: All Heqet can breathe underwater in fresh or brackish environments. Additionally, all Heqet have a swim speed of 120' (40').

    Scouts

    Heqet Scouts
    Armor Class: 7 (6 with Shield)
    No. Appearing: Special
    Hit Dice: 1 Save As: Fighter 1
    Move: 60' (20') Morale: 7
    Attacks: 1 Weapon
    Treasure Type: K
    Damage: 1d6 Alignment: Chaotic
    Frequency: Uncommon
    Chance In Lair: 20%

    Heqet scouts make up the bulk of Heqet colonies – roughly 2/3 of the population. They are four feet in height, rubbery skinned, and wear armor made of intertwined leather and cork wood plating. They tend to carry shield and spear.

    Leap: Scouts may – in lieu of moving – leap: covering 30’ of ground immediately. If using this ability to charge into combat, the Scout gains a +2 bonus to attacks in that round only. 

    Breeders

    Heqet Breeders
    Armor Class: 6 No. Appearing: Special
    Hit Dice: 2 Save As: Fighter 2
    Move: 60' (20') Morale: 9
    Attacks: 1 Slam
    Treasure Type: J
    Damage: 1d4 Alignment: Chaotic
    Frequency: Rare
    Chance In Lair: 20%

    Heqet Breeders are a subset of females bearing eggs. Though not in cold weather – Breeders will broaden in span, taking up almost twice the width as typical, and release eggs which then implant into the skin in an irregular pattern. Tadpoles develop in pockets along the skin for 1d4 months and are birthed from said pockets as fully-formed as Toadlings. Thereafter, the breeder sheds her skin and, a month later, is able to renew the process. There is little attachment to young among the Heqet – Breeders are not protected, as such, over other warriors, but their mobility is impaired by the process.

    Leap: Breeders may – in lieu of moving – leap: covering 20’ of ground immediately. If using this ability to charge into combat, the Heqet gains a +2 bonus to attacks in that round only. 

    Breeders tend to be unarmed – but may take up arms if available when under threat. Similarly, Breeders do not wear armor – they don’t fit in it – but the thickness and roughness of skin during the breeding cycle provides medium armor (Armor Class 6) equivalence.

    Surniame Toad; Unknown Artist

    Mundunugu

    Heqet Mundunugu
    Armor Class: 9
    No. Appearing: Special
    Hit Dice: 2 Save As: Elf 1
    Move: 60' (20') Morale: 9
    Attacks: 1 Staff
    Treasure Type: ind (lair)
    Damage: 1d4 Alignment: Chaotic
    Frequency: Rare
    Chance In Lair: 20%

    Mundunugu are the spirit leaders of the Heqet. They are sworn to Chaos and bound to the dark power Zuzu, adorning themselves in his chimeric likeness. No to Mundunugu look quite the same in their spirit garb. Mundunugu are magic users: commonly employing Curse and Hold style magic. They may cast spells under water.

    Leap: Mundunugu may – in lieu of moving – leap: covering 30’ of ground immediately. If using this ability to charge into combat, the Heqet gains a +2 bonus to attacks in that round only.

    Of Mundunugu garb – 2-in-6 Mundunugu have garb and adornment sufficient to qualify as light armor, which increases their Armor Class to 7.

    Toadlings

    Heqet Toadlings
    Armor Class: 9
    No. Appearing: Special
    Hit Dice: 1-1 Save As: Normal Man
    Move: 90' (30') Morale: 6
    Attacks: 1 Slam
    Treasure Type: Nil
    Damage: 1 Alignment: Chaotic
    Frequency: Uncommon
    Chance In Lair: 20%

    Toadlings are the wandering young of the Heqet. Toadlings mature quickly – evolving into their next state after only a few months – but during the first portion of their lives, they have the facilities of toddlers.

    Leap: Toadlings may – in lieu of moving – leap: covering 15’ of ground immediately. There is no benefit on a charge for a Toadling.

    Toadlings tend to be unarmed – but have been known to throw rocks: which qualify as Sling (-2 to hit) where all targets are treated as being one range increment further than they are.

    Spoiler Alert!
    The Deeper Lore section contains some notes to help a GM (me) to run Heqet in a way consistent with the archetype they are supposed to fill and some of the inspirations behind their creation. If you play in (or want to play in!) a game GM'ed by me, beyond this point will ruin some of the mystery for you for both Heqet and for most of the sentient races: having some impact in the game world that isn't immediately available outside of player character discoveries.

    Deeper Lore

    The Heqet are a vice race - their Chaos Seed being granted and imbued by the sin of Sloth. The entropic entity associated with Sloth is Zuzu - the Storm Lord and the Bringer of Famine - whose locusts consume what they did not grow and who disappear, sleeping for years at a time until such opportunity arises to feast on the labor of others again. As to how the Heqet came into being, this is a curiosity regarding the other entity - the Rabisu - whose spirited undeath is fueled by the emanations of Zuzu as well.

    Frog Man Anthropomorphic Toad; Michael Hourigan

    The Rabisu are vampiric in nature - they lurk in the darkness, pained by daylight, and feed on the life essence of the naturally living: parasites - some seen as cursed for it; others wildly blessed - who are granted presence, eternal, at the cost of others around them. Thralls held by the Rabisu tend to be, themselves, cattle - their warm blood feeding their lords.

    Among the Rabisu are many powerful lords - but the most powerful among them, in argument with Zuzu, with whom he saw himself co-equal, was cursed. Zuzu sunk the lands around the vampire king's domain, filled the fallow fields with swamp and salt - precluding him from walking his own estate, salt and water being the fundamental elements of birth and of natural life. And from those bogs, so also were the vampire king's thralls cursed - their blood made cold, their skin made rubber - that the vampire king might be reminded that the life that flowed through him was not his own and again, condemning him: dooming him to rely on the machinations of these slow, indolent minions and the capricious Zuzlings (the personal impish messengers of Zuzu, himself) for basic sustenance.

    Though very few know the story to this day - Heqet, thus, were almost at first a cruel joke: a punishment for the hubris of lesser evils. Regardless, the Heqet find themselves in the service of Rabisu frequently, if only for their entropic association - as they make good servants. They can count on their masters not feeding on them, remaining themselves at full strength and at times, their captains and chiefs might even assert to be co-equal to the vampire lord they serve! And they can easily go where the Rabisu cannot - into the waters that birthed the world.

    Likewise to this day, the Heqet are highly distasteful to the Rabisu. 

    In a literal sense, of course.

    Melilot; Charles Henry Bennett

    Public domain or open license artwork retrieved from OldBookIllustrations.com and Pixabay and adapted for thematic use. Attributions in alt text.

    Saturday, November 20, 2021

    A Door a Dozen

    Secret doors are a hallmark of the dungeoneering experience. How much more fun is finding a treasure hoard than to have found it after having found it in a secret place? How much more rewarding, knowing others must surely have missed it before you didn't! And one of my favorite things with secret doors: coming up with fun, special mechanisms with which they open - and thematic yet sign-posted descriptions that may allow the player to find it with no roll being made.

    That said - it's not always easy (or feasible) to come up with a thematic and unique secret door on the fly: so herein provided - a dozen secret doors (and the secret behind their opening!)

    1d12 Secret Door
    1     Table In the Floor
    In the center of a space is a table - supported by a single leg in the center, affixed to the floor where it stands. Optionally, something may be atop the table - a cloth, votive or otherwise, alternative folderol. The table will turn, however - if a character attempts it - and rotate: after three or four rolls, it becomes evident that the table is rising.

    The table is on a dais which - if rotated for at least 2 turns (1 turn, if two or more allies turn it together) - will rise, allowing egress into a hidden room below. Beneath the table dais is a chain leading down to assist with the climb.

    Mysterious Entrance; Leon Benett
    2
        Ferrous Curtain Rod
    Against the wall in which the secret door is found can be seen hanging a thick curtain - suspended from rings along a metal rod running the length of the room. The walls are paneled and, if the curtain is closed, behind the curtain - a secret door, one of the panels, is open. The mechanism to the secret panel, however, is attached to a magnet hidden inside the suspending rod. If the curtains are opened, the panel will shut - concealing the egress; if the curtains are closed, the panel will open as the magnet moves to the other side.

    A character may detect this hole by prodding the curtain wall externally, noting a dip when they prod the section with the opening; by going behind the curtain without opening it; or by noting an odd sound that can be heard when opening or closing the curtain.
    3     Sliding Stonework
    Inlaid in the stonework of the wall is a false section of masonry, detectable by an observant hand, noting the mortar suddenly becomes smooth in that section, or by the temperature of the faux stones - which is slightly warmer than those around it.

    To open the door, one may push it in: but it will only go so far - not quite far enough to open. At that point, it can slide either left, right, or up. Left or right result in the door becoming stuck - up will allow it to click into a latch on the far side, securing passage through.
    4
        Under the Surface
    In the center of a space is a tiled pool - 20' long by 10' wide by 10' deep: the bottom is white - the sides are a checker-board: black and white, in 3' hexagons. On one of the long spaces, however, a black tile isn't a tile at all - but instead a hole where a swimmer might swim through: shadows of the walls, poor lighting in the dungeon, and the distortion of its depth conceal it from casual observation. The party might find it if using a "full daylight" effect, which would eliminate the shadows; but throwing a non-extinguishable light source down into the water, or by prodding around the pools edges with a lengthy pole or a spear.

    Swimming through results in a short tunnel, water-filled, which terminates in a new space: the waterline of the new egress equivalent to that of the pool on the other side.

    Cistern Reservoir Water Storage; Pixabay user Free-Photos
    5
        Arch Trapdoor
    The arched ceiling of the room is tiled with particularly large stones for an arch. Detectable by chance or by drafts influencing the smoke from a torch, one of these tiles is false - significantly lighter than the others - and can be pushed up. If pushed all the way - it will fall, the arch being on a slope, after all - and a falling block, though it will not break, may attract a wandering monster.

    Once open, though, a man with something to stand on can climb through with relative ease.
    6
        Mouth of the Monster
    The sculpted head of a crocodile or similar monster, a headdress of some archaic make donned atop its stone head, sits, mouth closed, on one side of a chamber. Its eyes are closed and - if a character looks - they may notice four small indentations on the floor, where once a four-legged brazier stood. Ash stains or rust in the ruts may be present, included as hints for the party.

    If the party makes a material "sacrifice" - that is, by immolation, destroys an organic substance between the studs, the eyes of the statue open and the mouth slowly rises up, revealing a passage down the gullet. The trigger is not necessarily magical - could be heat-driven, based on the specific location and intensity of the flame. The mouth will remain open as long as the fire persists.

    Other potential hints to the presence of the secret door may include rails for the mouth to slide up on the wall or floor - as well as deep grooves in the statue, itself: deeper for the eyes and mouth than for the nostrils, etc. - to account for the joints concealed beneath.
    7
        Illusory Pocket
    Ringing the plaster walls of a room is a wooden runner. Beneath the runner, below where a character might lean on the wall, but above the trim such that it might not accidentally be kicked or prodded with a scabbard, is a small section where the wall is not. Instead, by lighting (or magic!), an illusion of wall - the color continues, the texture to the eye, but the physical wall does not: such that a character patting the wall may find the hole. Depending on preference, the hole may be large enough to accommodate a squeeze - or, perhaps it simply hides a lever which opens a larger door, hidden in the corners and seams of the room's wall, proper.

    Optionally, include a mechanism in the space or surrounding rooms that may serve to elucidate the portal.
    8
        Gate of Vines
    A wall of bars - or grated partition - is totally overcome with vines. Growing out from the mortar itself, they have totally taken over: forming a thick layer of green over the vertical space. In the ironwork is situated a hinged door - not even locked! - but the preponderance of vines has made the gate invisible.

    Potential mechanisms to detect the gate may be the elimination of the vines, wholesale (through Fireball or similar), or perhaps by noting a squeak while applying pressure in the vicinity of the gate (the vines will cause the gate to flex, its hinges causing the sound).

    InteriorOfThePrincipal Building at Kabah; Frederick Catherwood
    9
        Put the Candle Back!
    In the wall near to a book case or other standing furniture is a candle holder - in which can be found a half-used candle. The candle is depressing a pin which - if the candle is removed, will retract, causing the book case to cycle like a revolving door, transposing anyone within 7 feet of its center to the other side of the wall. Another book case of similar contents and build is present on the reverse of the wall - and thus the door is once again hidden when the rotation is complete.

    The candle is outside the radius and is thus inaccessible from the other side of the secret door.
    10
        Molding Fountain
    A fountain is embedded in the wall - water dripping rather than flowing - out of a gargoyle's mouth into a stagnant well - hemispheric, 18 inches or so in diameter. Mildew and mold grows atop the sides and across the surface of the water: obscuring view into the space. If a character reaches into the water and feels around, they will find a lip on the rear side - directly under the mouth of the grotesque: inside this hidden alcove is a pull chain which mechanically withdraws a pin, allowing the character to push the fountain inward: revealing entrance to a hidden space.

    Optionally - the fountain should start working again (that is, water should flow from the gargoyle's mouth rather than drip) when the door is in an open state.
    11     A Gap in the Fireplace
    Against one wall, a fireplace - wide mouthed without a lip or ledge - is embedded. Inside, where the flume lever might be, there is a second switch: one which, if turned, opens a panel to one side of the fireplace, the seams of which are obscured by soot, and allows egress into a hidden space.

    A player might find the space via a draft coming through the empty fireplace; by observing that embers, uncleaned, appear to have been blown in a singular direction, opposite to the draft; or by chance - thinking to open (or close) the flume and light a fire.
    12     Shadowed Portal
    When in an illuminated state, the room and wall seem entirely normal. Optionally, the referee may include a suspicious stone arch, as though a door was once there, that has been bricked shut. However, in the absence of light - magical, mundane, or otherwise - the arch is open: unsealed; providing a way through.

    The party may find the secret door if a character with infravision is scouting ahead, if a Darkness spell is cast (by mistake or by malice of a wandering magician), or - if presented with the optional hint described above - by chance if the torch flickers, as if the characters are resting in the space, exchanging a dying torch for a fresh one, seeing the masonry blocking the doorway likewise seem to fade in places where shadows fall as the light is dying.

    War Signal; Adolph von Menzel

    Public domain or open license artwork retrieved from OldBookIllustrations.com and Pixabay and adapted for thematic use. Attributions in alt text.

    Saturday, November 13, 2021

    A Wheel and its Spokes (A Dungeon)

    Scale: 10 ft.
    Click here for a PDF version of this adventure!

    Trying out a new keying for locks, stuck, and secret doors.

    A little keyhole icon means the door is locked.
    A little "S" through the door means the door is secret.
    The other icon - which is supposed to look like a muscly arm - indicates the door is stuck and must be forced open.

    Let me know what you think!

    0 - Entry

    0A - Silver Hall

    A hall leads away from the entry stairs. 

    Along the walls are silver-lined torches, lit, along the walls: four on either side. 

    They will continue to burn indefinitely unless removed from the wall - in which case they will burn for 1 hour, same as any other torch. They are worth 30 gp each for their materials - regardless of whether they have been consumed or not.

    1 - North-West Chambers

    1A - Shocking Hall

    The walls of this hall are lined with reptilian iconography, carved into the walls. In the center of the room is hidden a false floor which, if triggered, will drop anyone on top of it 15 feet into an electrified pool of water. It is not deep enough to drown, but any character in the water takes 1d6 points of damage per round until they are rescued and must Save vs Paralysis (-2 penalty, if in metal armor) each round or be paralyzed for that round by the spasm-inducing current.

    1B - Ringed Pool

    A narrow pool rings this space. It is around six inches across, three inches deep, and is easily bypassed. The water inside is normal water, slowly flowing in a clockwise direction.

    1C - Baboon Menagerie

    The doors into and out of this space are stuck. Behind a series of bars in the center are 7 Rock Baboon (B41), seemingly trapped as though in a menagerie. On the east side, in among the baboons but affixed to the wall, is a suit of leather armor - magic, +1 - with an odd, sloping helmet. On the west wall, equally affixed, a polearm of master quality: +1 to hit, but non-magical and no bonus to damage. 

    Treasure Chest Chain Castle Brown; Pixabay user HOerwin56

    1D - The Iron Box

    Hanging from the ceiling - 20 feet above the heads of the characters - is a metal chest, suspended from the ceiling by a chain. 

    Encircling the room is an invisible staircase, which will allow them to climb indefinitely - the chamber having no physical ceiling: the chain being lashed to some further surface, just out of reach of the torchlight. Inside the locked chest is 600 silver pieces and 200 gold pieces.

    1E - Frilled Mosaic

    On the floor, a mosaic details the head of a lizard: complete with red frill. It is a bit chipped, but otherwise in good order.

    1F - Lizardman Bunkhouse

    This room smells. Four Lizard Men (B38) have taken up residence in it: littering the place with their nesting material. They are not aware of the secret door.

    1G - The Protoman's Office

    In side this room is a writing desk - slightly wrong in proportion to a human. Against the far wall is a chest - dramatically under-filled with 100 sp. In the desk can be found a pouch with three Cat's Eyes (10 gp each) and three Amethyst (100 gp each)

    1H - Fresco Pool

    The north and south walls of this space are lined with columns. There was once a fresco between them - but it has since decayed to the point where it is impossible to tell what was depicted, apart from a blue color. In the center of the room is a pool. A five headed Hydra (X33) is sleeping in the water.

    2 - North-East Chambers

    2A - A Ghoul's Dining Hall

    Near the center of the space, there is the skewered remains of several adventurers. They have been skewered by a trap in the room - when triggered, anyone within 10 feet of the doors to the south-west must Save vs Paralysis or be crushed between two masher-like sections festooned by spikes that come together, having sprung out from the flanking walls.

    Four Ghouls (B35) are eating the remains of the adventurers remains. Two of the ghouls wear expensive wedding bands - 700 gp each - one wears a gold chain (1,000 gp), and one of the dead adventurers is clutching a bedecked holy symbol - prominent emeralds - worth 1,300 gp. The Ghouls are aware of the trap and may (2-in-6) attempt to use it to their advantage, if pressed.

    2B - Hall to Nowhere

    A carpet - moist, mildewing at the sides, runs the length of this room.

    2C - Troglodyte Den

    Three Troglodytes (B44) have taken up residence in this space. They are resting, not having made it their home yet, but the room still reeks: smellable from the hall beyond to an observant character.

    2D - South Prison

    This room consists of iron-barred alcoves: seemingly with no entrance. The one to the south contains humanoid bones; the two to the north contain a single Hobgoblin (B36), each, who - as the party approach, are playing a simple board game akin to Backgammon: calling their moves to one another from across the way. 

    Prison Jail Rustic Pennsylvania; Martin Dubreuil

    2E - North Prison

    Along this hall are several iron-barred alcoves. The bars have no doors or other visible mechanisms of egress. In the easternmost are 2 Berserkers (B32) - in the center, 3 more Berserkers. They woke up here recently and don't recall how they got there.

    2F - Spider Alcoves

    The alcoves opposite to the double door contains a statue of a humanoid - artfully carved - but missing several pieces to damage. To the north, the alcoves are obscured by spider webs: excepting another statue, visible easily in the north alcove: its eyes glitter in the torchlight: one is a harlequin opal (100 gp value), the other, a matrix opal (50 gp value). 

    A single Black Widow (B42) spider lurks among the webs, hidden and waiting. 

    2G - Flaring Gate, North Side

    A brazier sits, unlit, ringed with pearl discs but filled with oil-smelling charcoal, sits between two locked doors to the south. 

    A character interacting with the charcoal may trigger a pressure sensor on the floor which will drop an ignition source into the charcoal: causing it to flare up, destroying half the pearls and forcing any character interacting with the brazier to Save vs Breath or take 1d8 fire damage. Characters thus affected may have to Save for flammable gear carried above the waist.

    The pearl discs are worth 110 gp.

    2H - Flaring Gate, South Side

    A brazier sits, empty, between two locked doors to the north. 

    The wall above it is blackened with ash.

    2I - Revelatory Statue

    A statue - artfully sculpted - stands in the alcove to the east, facing west. If it is turned to face east, the secret door to the east will open.

    2J - Waiting for the Ferryman

    Two statues carved to seem haggard, wearing rags, flank a skeleton on a raised, lidless coffin. The skeleton wears scale mail and is in a weird position: as though tossing and turning in slumber. It never moves when under observation, but will change position when observed at different times.

    If 2 silver coins are placed on its eyes, it audibly sighs - as if in relief, and shifts into a supine position. From that point, for the next 1d4 days, any character in the room is invisible to any Undead. Note, not undetectable - just invisible.

    3 - South Chambers

    3A - The Welcome Desk

    To the east, a brown-black stain runs along the floor, close to the south wall. To the west, an alcove with a desk in it: behind which sits a long-rotted corpse in rusted scale armor. Five Robber Flies (B41) lurk in the shadowed corners of the alcove. The corpse has a key to the door to the east - if the party can get past the Robber Flies - but the key is rusted and old: it will break off in the lock on a 2-in-6 chance.

    3B - The Lectorium

    Lecterns with stools line this room - smashed and tossed about, as though the once orderly space was released into the care of apes. Among them, 7 Pit Vipers (B42) have nested.

    3C - North Storage

    Several crates and chests are open in this room - they contain only cobwebs and dust.

    3D - South Lockers

    Eight Lockers line the north wall - coat hooks, the east. One coat hangs - in the pocket of which can be found 70 gp. If the lockers are opened, a cool whistle will emerge from them, which echos in the space: for every other locker opened, roll for a wandering monster: drawn by the noise.

    4 - Secret Hall

    4A - Treasure Trove

    Beyond the secret door is a double pendulum trap: characters moving southwards will - both at five feet and ten feet in - have a chance to trigger one of two pressure plates, causing a bladed pendulum to swing down, alternating sides on each swing, the trap having reset itself with the momentum of the first. Each pendulum does 1+1d10 damage, striking with a THAC0 of 15 - however each can only target one character per round: thus, if a group of 5 were to charge through, at least 3 would make it through safely.

    Beyond the traps is a hoard of treasure, piled among two skeletons (an Elf and a Human) - with suspicious damage to their bones in keeping with a slashing, crushing attack. The hoard contains the following:

    • 12,000 sp
    • 400 gp
    • 1 jade trinket (10 gp value)
    • 2 blood sapphires (100 gp each)
    • 2 diamonds (500 gp each)
    • 1 Potion of Giant Strength

    5 - South-West Chambers

    5A - Junction

    The center of the junction in the hallway at this point is marked by a statue, looking up. Above is a hole in the ceiling - 10 feet by 10 feet or so - that is 40 feet deep. Interacting with the statue has a chance of triggering an anti-gravity trap: wherein the statue will suddenly look down and any character under the hole in the ceiling must Save vs Spells or fall upwards - into the hole. At the "bottom" of this fall is a Gelatinous Cube (B35).

    5B - Carpet Trap

    A rich red carpet covers the bulk of the floor of this room. In each corner is a statue - limbless, faces damaged and unrecognizable. If a character steps onto the carpet, they may activate its trigger, wherein it rolls up - capturing them inside. Save vs Paralysis to avoid, roll 2d6 once per turn to escape (if unaided externally). Modifying the roll by Dexterity - representing shimmying out, is a target number of 11; modifying the roll by Strength - forcing the rug open - target number 9.

    5C - Sculpted Entry

    To the west, a series of finely sculpted statues adorn the squared alcove. To the north is an iron gate, locked, but through the bars of which an observer can see into 5D. A lonely Elf (B35) is contemplating the gate. He has the keys to the doors between 2G and 2H - but he does not know that they key opens those particular doors - and is wondering how (or whether) to approach this locked gate, based on the beetles beyond. 

    Four Statues; Adolphe Terris

    5D - Oil Beetle Prison

    Shackles line the walls of this space, affixed to the wall. A trough is cut into the floor running through the center of the room. Six Oil Beetles (B31) are tittering about the sluice.

    6 - Northern Circle

    6A - Glowing Crest

    A drain rings the room - following its perimeter on all sides, six inches from the wall. A large crest, the shape of a shield, is positioned on the south wall - illuminated by a glow emanating from under the aforementioned drain. If a character interposes themselves between the glow and the crest, the crest opens outwards, dumping a wash of acid onto the floor. All characters in the room must Save vs Breath: on a success, they suffer 1d4 points of damage from fumes and the like; on failure, they suffer 1d6 points of damage each round for 1d4 rounds as it washes over them.

    The door to the west, locked, is iron. The door to the east is wood.

    6B - Shield Room

    On the west wall hangs a magic shield, +1. Beneath the shield is a square lockbox containing 800 sp.

    6C - Crystal Candle Room

    Twelve iron rings hold twelve crystal votive candle holders, shaped like flowers. The flowers, each, are worth 10 gp, but if candles are placed in them and lit, the chance of finding the secret door increases by +1-in-6 for every other candle lit: where it becomes evident that a section of wall is illusory.

    6D - Old Vault

    Several empty chests are strewn about this space. One remains closed, on its side, locked and trapped with a poison needle in the mechanism. It contains 600 sp.

    7 - Eastern Circle

    7A - Consequences of Choice

    All doors to this space are reinforced with iron and locked. If a character opens either the north or west door, bars slide across the backs of the other two doors to the space, preventing ingress or egress in those directions. The open door is considered stuck: allowing ingress, of course, but will be difficult to close.

    7B - Pickled Thoul

    Several barrels of pickled but still rotting ham are stored in the east portion of the room. A single Thoul (B42) sits atop one - sharpening a cutlass (treat as Sword). He arrived in a squire role to the Bugbear in room 7E: they do not know he is undead - his motives for the deception are his own.

    7C - Centerpiece Hall

    A mosaic floor forms a concentric octagon - 8 feet off the chamber walls. The mosaic depicts an ugly face: perhaps that of a corpse, or one distorted by pain.

    7D - Desert Locker

    The door to this space is stuck - warm air seems to seep from the creases and gaps in the door. If opened, a sudden gust will blow out, bringing with it some sand. The room inside is empty - but articles left in the room will, over the course of 24 hours, desiccate: leather is ruined, meat turns to jerky, and so on.

    7E - Bugbear Locker

    Four Bugbear (B32) have barricaded this door shut. They are resting - eating and playing a dice game - talking about the Thoul in 7B. They don't trust him, though think him a standard Hobgoblin.

    7F - Bucket of Shards

    At first glance, the room appears to turn south rather than north from the door. If a party continues southward, they will bump into a wall - triggering a trough of crystal slivers to fall on the floor. Any characters in the front rank must Save vs Breath or take 1d6 damage; any characters in the second rank must Save vs Breath or take 1d3; and hence, movement through the space - within 10 feet of the door, including into 7C, must be made cautiously. Moving incautiously requires a Dex Check, failure of which causes the character to slip and fall, taking 1d4 damage from the slivers.

    The north wall is illusory. Behind it is a small horde of 1,100 silver and 600 gold pieces. 

    Skull Skeleton Monochrome Dead; Peter Dargatz

    7G - Hidden Crushing Trap

    In the center of this space is a pair of crushed skeletons, one wearing a flattened suit of chainmail. One skeleton carries a set of keys - keys which will open the door between 3A and 3B. By entering the room, however, the party may trigger a trap: wherein the floor begins rising, taking 1+1d4 rounds to reach the ceiling: crushing anything remaining inside the space.

    7H - Shadow Locker

    A lone Shadow (B41) haunts this space. Tucked into a missing stone in the west wall, near the secret door to the south, is a strongbox containing 120 gold pieces and three round-cut andalusite: each worth 100 gold pieces.

    7I - Whistling Tunnel

    A whistling sound can be heard and a slight breeze felt in this natural tunnel - always coming from ahead of the party, no matter which way they go: dying down and starting up again if they pause in the space. All doors out of this space are obvious - no search is required - to find them from this side. However, upon exiting this space - there is a 2-in-6 chance that the party will exit from one of the three doors, randomly determined, instead of the natural egress point.

    A trail of 70 gold pieces leads from halfway up the north corridor towards the east corridor.

    7J - Old Foyer

    Broken furniture has been piled in the north-west corner of this room. A locked closet to the south-east contains a warm overcoat, slowly collecting dust, and a pair of boots which is surprisingly clean. The boots are enchanted - they will never tarnish and mud will slide off them with use - but they convey no other special advantages.

    8 - Western Circle

    8A - Quarry Refuse

    Crumbled marble - some appearing to have been a particular shape, but then damaged or perhaps mis-cut - is piled up in this space.

    8B - Adventurer's Hall

    This room is illuminated on the east and west walls by runes written in the Lawful script. To the west, "Adventure" - to the east, "Death". 

    Ruined Stairs at Neuss; Johann Wilhelm Shirmer

    8C - Rubble Room

    The ceiling of this space is indented - roughly in the shape of the room, 5 feet from the walls. A pile of stone rubble and broken bricks sits in the south-west corner.

    8D - Planning Space

    A decrepit table with a large chair at the head sits in this space. If the party enters from 8C, there will be a ghostly figure in the room - stalking or sitting, as deemed appropriate by the referee. 

    It will look at the party, vaporize, and then will not be heard from or seen again.

    8E - Hidden Egress

    The doors out of this space are obvious - that is, no roll is required to detect them from this side. If the party enters from 8D, a gentle chuckling can be heard in the air: then silence returns.

    8F - Slime Treasure

    In the center of this room appears to be a large Green Slime. It does not move - but is in fact illusory: tossing a torch or otherwise disturbing it will reveal its nature. Hidden behind the illusion is 300 silver pieces and a case containing scrolls of the following spells:

    • Detect Evil
    • Charm Person
    • Hold person
    • Read languages
    • Polymorph Others

     

    Open license or public domain images retrieved from Pixabay and the National Gallery of  Art and adapted for thematic use. Attributions in alt text.

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