In Shadowdark, the dark dangers of the dungeon are infamously made tangible at the gaming table by linking the duration of light sources to real time: Have you been playing for an hour? Then your torches, lanterns, and light spells burn out and you’ll need to ready new light sources.

This is a mechanic that streamlines bookkeeping, centers expedition-based play, and encourages fast-paced action. (If you sit around dithering, then you’re literally burning the candle at both ends!) It can also be a controversial mechanic due to its lightly dissociated nature, so it’s ultimately up to you whether the visceral immersion of the real-world time pressure is worth the tradeoff.

DARKER DEPTHS

But we can take this concept even further by embracing the ideal of the Mythic Underworld. Within those strange depths, the darkness does not flee the light, but rather turns upon it. Crawling through those tunnels you can feel it pressing in — little eddies of shadow testing the flickering weakness of your torch until finally the stygian murk literally snuffs out any source of light.

And the deeper you dare? The stronger the darkness becomes.

If you’re on the first level of the dungeon, then torches, lanterns, light spells, and other sources of illumination have a duration of 1 hour. But as you descend to lower levels of the dungeon, light source duration decreases as shown on the table below:

If the PCs switch dungeon levels in the middle of a duration, increase or decrease the end time of the light source appropriately. For example, if a torch was going to burn out at 8:50 pm and the PCs descend from Level 1 to Level 2, the torch should now burn out at 8:40 pm. (Going up a level should always relieve pressure; going down should always increase it, and could even cause a torch to immediately go out!)

Sublevels can be treated as a level of equivalent depth (e.g., Level 3A would have the same light duration as Level 3).

DESIGN NOTES

The rules for darker depths are, obviously, designed to increase the stakes and costs of mounting expeditions to lower (and, in classic megadungeon play, more profitable) levels of the dungeon. In more narrative-driven dungeons (e.g., we must follow the dragon into the depths to recover our comrade’s body!) where the logistics of torch management may not be a primary focus, it will nevertheless push a sense of rising dread and danger.

Big, ten-minute chunks are taken out of the time initially so that the players can immediately feel the difference from one dungeon level to the next. Once the timer reaches 30 minutes, this pace is reduced to five minutes per level in order to sustain the effect for larger dungeons.

Similarly, the progression is ultimately capped at 10 minutes per light source because shorter durations (e.g., 5 minutes or 1 minute) simply become too much of a hassle to implement, serving as more of an annoying distraction than a terrifying reality.

You could experiment with the idea that, beyond Level 8, the stygian depths actually prevent any light source from being ignited, but this would obviously represent a fundamental shift in the paradigm of play rather than simply putting pressure on the existing forms of play.

Did you know that the D&D 5^th Edition core rulebooks don’t include an example of a keyed dungeon map?

This is because D&D no longer teaches you how to prep or run a dungeon.

This is a wild thing to think about, and it actually gets weirder the more you think about it. Back in 2020, in Whither the Dungeon?, I pointed out that this had created an entire generation of Dungeon Masters who had, paradoxically, never learned how to master a dungeon. Even the oral traditions which had once passed this knowledge from one DM to another were breaking down, partly because this was actually the end point of a long-term trendline (the dungeon instruction in D&D 4^th Edition, 3^rd Edition, and even 2^nd Edition had grown increasingly anemic) and partly because of the huge influx of new gamers via channels other than playing in someone else’s game over the past decade.

By the end of the 2010s, you could already see the effects of this manifesting in DMs Guild and other third-party adventures: An ever larger number of dungeon adventures were being published without numbered maps; the contents of those dungeons described in haphazard paragraphs which were often little more than a rambling stream of consciousness.

This was bad in its own right, but this degradation of published books was only a reflection of an even deeper rot at casual gaming tables – a malaise invisible to those afflicted, because they didn’t even know what they were missing.

Then, in 2023, Wizards of the Coast published The Shattered Obelisk. As noted in my review, this campaign book included multiple unkeyed dungeons. This, in my opinion, was a red alert: It wasn’t just that Wizards was neglecting to teach basic dungeon design; it appeared that the design team itself was losing the institutional knowledge to design dungeon adventures. (The call was coming from inside the house!)

But maybe this was just a fluke, right?

In 2024, the new Dungeon Master’s Guide was released. Like the 2014 Dungeon Master’s Giude, it failed to include even an example of a keyed dungeon map, let alone any sort of actual instruction in keying a dungeon map or running dungeon adventures. Except it was even wore than that: The new DMG included multiple sample adventures for new DMs, including three dungeon adventures… none of which were keyed: One just said “there are some monsters in there.” Another tried to vaguely describe through words where each encounter was located on the map (e.g., “in a sidecave to the southeast” or “at the north end of the stream”). A third tried to use a broken method of random encounter checks.

So where the 2014 DMG simply neglected to teach new DMs how dungeons work, the 2024 DMG escalated to only showing examples of exactly how you should not design a dungeon. This, in my opinion, was now a five-alarm fire.

All of which brings us, in 2025, to Borderlands Quest: Goblin Trouble, one of the first official adventures for 2024 D&D, released as introductory adventure to promote the upcoming Starter Set: Heroes of the Borderlands.

It’s a dungeon adventure.

It’s unkeyed.

Something is rotten in the state of D&D.

WHERE, OH WHERE IS THIS ROOM?

At this point, many reading this might be thinking, “Well, so what? What’s the big deal?”

To understand the problem, let’s take a peek at what happens when you try to actually run Goblin Trouble, starting with the PCs following some bandits and “enter[ing] the cave from the eastern edge of the map.” Checking the map, it’s pretty easy to figure out where this is:

It will later turn out that the actual location being described is several hundred feet to the west, but we can let that slide. So far, so good!

But things quickly get more complicated:

From the cave entrance, a passage continues deeper beneath the hills and slopes downward. You travel for several minutes before the passage turns north and leads up a set of natural stone steps. A group of caverns continues out ahead of you.

The ceiling of these caverns is choked with webs, and the footprints you’ve been following continue through these caves. In the center of the floor in the first cave is a human-sized boot.

I’m fairly certain that this is what the boxed text is describing:

But, as you can see, the PCs have moved past a major intersection without the adventure even mentioning that it exists. This is quite strange, but let’s put a pin in that. We’ll come back to it later.

At this point, the adventure describes an encounter with some spider webs and dead spiders… but is this actually where this takes place? It’s unclear. When the PCs went up the stairs, north, and into/through a “group of caverns,” how far did they go exactly? How many caverns are we talking here?

At first it seems like it could be any or all of these caves, but later, after the encounter with the dead spiders is described, we’re told that

The passage continues onwards, taking the characters north for a while, and then switching back south. The caves here are empty, save for some old cobwebs on the ceiling.

Eventually, the characters find themselves on the southeastern side of the map, near some steps that lead into a cavern with an underground stream flowing in it.

So the dead spiders must have been in the southern cave (so that the PCs could leave it going north). Furthermore, there’s only one cave on the southeastern side of the map, so that must mean that the PCs follow this path:

As we can see, the adventure is once again skipping past several more intersections and the PCs end up… in the cave immediately to the left of where they entered? That’s bizarre.

It turns out, though, that this must be a typo. This is supposed to be “near some stone steps that lead into a cavern with an underground stream flowing in it.” The stream is on the other side of the map, so they must mean one of these two locations:

But which one?

I can guess, but there’s no way to actually know.

At this point we’re told that the bandits the PCs are following are “in the cavern ahead” and “trying to summon the courage to peek around the corner and see what the goblins are up to.” But what does this mean, exactly?

They must be somewhere in this area:

But where’s the corner they’re “peeking around”? Reading ahead, we can figure out that the goblins are hiding inside the secret lair, but the bandits don’t seem to know that. Nevertheless, maybe we can play this as “they look around the corner and are confused to discover a blank wall of stone.”

Okay, so “southeast” is probably a typo for “southwest.” And the “corner” must be that outcropping of rock, so the bandits must be standing at the X:

We also know the path the PCs must have taken (which is still bonkers, but let’s stick another pin in that!). We’ve figured it out!

Phew!

…

Just kidding. The bandits can’t be standing there, because several pages later we discover that the goblins have set up a trap in the mushroom patch. This is not, of course, keyed to the map. (Why would it be?) But if the bandits were there, they would have triggered it.

So where ARE the bandits supposed to be?

I have no idea! Good luck, first-time DMs!

CONSEQUENCES

It’s important to understand that this isn’t some fluke. This is what always happens when you try to describe the contents of a dungeon through rambling paragraphs instead of clearly indicating where things are located on the map.

If you think about it, this principle isn’t just limited to dungeon design. It’s a fundamental property of maps. Imagine, for example, if the maps app on your phone just displayed a bunch of unlabeled streets and said, “Turn left somewhere up ahead. I’m sure you’ll figure it out!”

And the problem here isn’t just that you’re being forced to solve a Where Is This Room? puzzle before you can run the adventure. The deeper problem is that, without a proper scenario structure, you’ll end up prepping the wrong stuff. And even if you prep the right stuff, it’ll be organized in ways that make it difficult or even impossible to use at the gaming table.

In truth, what usually happens is that the designer or GM will end up defaulting back to the only structure they have left: A railroad.

And that’s exactly what happens in Goblin Trouble.

The opening advice for the new DM (which is quite good, actually; check out Nerd Immersion’s video that takes a closer look at this) spends a good deal of time talking about the importance of player choice and how players should be driving the action of the adventure. But the very first thing the adventure says is that (a) there’s only one thing the players can do; (b) if they don’t, the DM should tell them what to do; and (c) if that also doesn’t work, the DM should then use their “power to change the world around them to spur them to action.”

Then, as we’ve seen, the rest of the adventure is forced onto a purely linear track: The players can only choose to go forward or backward. Despite a xandered dungeon map, the predetermined narrative simply shuffles them along a track that ignores all opportunities for choice or navigation.

THE KICKER

Goblin Trouble continues in this vein for a while, but then, right near the end, we find this:

The Forge. The makeshift forge in area 4a occupies the spot at the back of the second room.

Area 4a?

This means that, at some point, somebody actually keyed a map. And then somebody else decided to remove the map key and rewrite Goblin Trouble as a nearly incoherent linear railroad.

There’s some nice stuff in Goblin Trouble: The opening GM advice. The texture of the encounters. The roleplaying vs. combat opportunities set up with the bandits.

But it’s fatally sabotaged by a fundamental failure of basic scenario structure and adventure design. I find it particularly alarming that this appears to have been done to an adventure which initially didn’t have these problems, suggesting that there’s something systemically wrong with the development process for adventures at Wizards of the Coast.

It’s a “the call is coming from inside the house” moment and, in my opinion, bodes ill for future Wizards of the Coast adventures.

And, frankly, for the hobby.

Gygax must be chortling in his non-existent grave: Diablo II has come to your gaming table, and it’s brought random dungeons with it!

Review Originally Published May 21st, 2001

When I first cracked open Diablo II: To Hell and Back my first reaction was one of excitement: It looked like Carl, Eckelberry, Quick, and Redman were going to deliver an epic campaign for D&D.

As I read, though, my excitement quickly turned to disappointment, and disappointment turned to boredom. As I look back over what I’ve read, I’m still of a mixed mind over this book.

Diablo II: To Hell and Back is designed to bring the Diablo II computer game to your gaming table, adapting it for use with the D&D rules. To a certain extent, it succeeds. And to a certain extent, it fails. It succeeds in the sense that every location, every dungeon, every NPC, every quest, and every monster from the computer game is to be found between its covers. It fails, however, in the sense that it is so busy attempting to emulate the computer game experience that it never gets around to establishing itself as a D&D supplement.

Or, to put it another way: Playing Diablo II: To Hell and Back is just like playing the computer game… except without the graphics. (And you also have to do all the number-crunching and random generation yourself.)

But why would you want to do that? I mean, what’s the point? If I want to play something just like the Diablo II computer game, why wouldn’t I just play the Diablo II computer game?

At the end of the day, Diablo II: To Hell and Back fails in being a good D&D supplement – which is what it should have been, and needs to be, above all else. In fact, the only thing it truly succeeds at is emphasizing the vast gulf which exists between tabletop RPGs and Diablo-style CRPGs.

What’s frustrating here is that, with just a little more effort, the authors could have used the same basic structure of this product as the foundation for a truly epic D&D supplement. Something which builds upon the basic plot, characters, and villains of Diablo II — but also brings with it the unique strengths of table-top gaming (more realistic character interaction, the ability for the DM to handle more complicated plot dynamics, etc.). The opportunity, however, is wasted… just as your money will be if you make the mistake of dropping it on this book.

To be fair, not everything here is lackluster. As I mentioned above, the structure the authors employ to emulate the computer game is not without merit: They succeed in creating randomly generated adventures which, at the same time, have a structure and purpose. They don’t entirely succeed (I would have actually preferred to seen less left in the hands of the DM – after all, I can always ignore randomness if I want to), but they do explore some interesting ideas. The monsters to be found in this volume are also nice, particularly the demonic creatures with lower CRs. If my understanding is correct, however, these can also be found in Diablo II: Diablerie — so you might be better advised to look there, instead of here. (Without the monsters, I would most likely have given this book a Substance rating of 1 instead of 2.)

While the random structure holds some promise, in one area they drop the ball big time: “Rather than list a specific number of monsters for such Fixed Encounters, we list an Encounter Level. For instance, Corpsefire (a special Zombie boss) has CR 3 Zombies with him. You can use the Dungeon Master’s Guide (Table 4-1) to calculate just how many Zombies that means for the party level when the PCs encounter Corpsefire. That way the game adjusts the challenges the PCs face as they go up in level.”

When I first read that I was incredibly excited – not only as a game player, but also as a freelance writer. What a clever way of building scalability right into the adventure without having any significant amount of hassle for the DM!

And, indeed, it would have been clever… that is, if it actually worked. It doesn’t: First, it’s a misuse of the CR/EL system (because groups of creatures have EL; individual creatures have CRs – they were using terms interchangeably that aren’t interchangeable). Second, because the CR/EL system doesn’t work that way no matter how you look at it. Zombies which have a CR or EL of 3 will always have a CR or EL of 3 – no matter what level the adventuring party facing them is. The XP awarded for defeating a CR 3 creature scales as the party’s level changes… not the CR or EL of those creatures.

When I figured out that it didn’t work (about twenty seconds after reading it), I proceeded to get pissed off: Not only had someone designed a system that didn’t work, they had then – obviously – not even bothered to playtest it.

In short, let me say this again: Don’t waste your money on this book. It had potential, but it was horrendously squandered.

Style: 4
Substance: 2

Authors: Jason Carl, David Eckelberry, Jeff Quick, and Rich Redman
Company: Wizards of the Coast
Line: Dungeons & Dragons
Price: $29.95
ISBN: 0-7869-1831-4
Production Code: WTC11831
Pages: 192

I really don’t envy the design team for this one. Wizards of the Coast had licensed Diablo II and started releasing licensed D&D tie-in books in 1999. The idea of adapting what was, at the time, arguably the most popular fantasy CRPG on the planet to D&D was actually a pretty great way to try to expand a D&D fanbase that had been contracting for more than a decade. The only problem? Wizards was simultaneously getting ready to release a new edition of D&D in the summer of 2000.

So the Diablo II D&D sourcebooks were awkwardly split across editions, and the 3rd Edition books — like this one — were being developed before the core rulebooks had actually been finalized (which is always a difficult position for a designer to be in). Add in all the headaches that come from licensed games (e.g., getting approval from the licensor for everything you do), and, as a designer, you’re being put into an almost impossible situation.

Unfortunately, the result here was an almost perfect example of exactly what NOT to do when adapting a CRPG to the tabletop.

Glass Cannon Unplugged was supposed to be releasing a new Diablo TTRPG in 2024 that was going to be somehow compatible with a Diablo board game. But this currently seems to be vaporware.

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

Go to Red Company of Magi

AREA 11 – LANDING

Stairs curve up and down from this landing. Upon a wooden perch next to the staircase leading up, a clockwork raven sits.

CLOCKWORK RAVEN: Obsidian feathers and ruby eyes. It will turn its head to follow motion and cry out, “Who goes there?” if someone approaches the staircase leading up, but it’s a simple mechanical oddity. It cannot fly nor think.

AREA 12 – UPPER HALL

Two suits of decorative armor bearing the Vladaam heraldic crest on their chests stand at one end of this hall, flanking a door.

GM Background: These suits of animated armor (helmed horror, MM 2024, p. XXX) used to stand at the Front Entrance where the pearl golems now stand. They were created several decades ago by Flambara of Ossyr when the Company of Red Magi was first founded, but their magic has severely decayed. They’ll falsely challenge even legitimate members of the guild, but can be easily be talked out of their challenges.

AREA 13 – ARCHMAGE CRETAI

A blue rug with arcane sigils stitched into it with silver thread fills the floor between a bookcase, a worktable of alchemical equipment, and a comfortable bed.

MEDUSA OF THE RINGS: On the worktable, almost directly opposite the door, there is a porcelain bust of a medusa’s ehad. The porcelain snakes framing her face are animate – writhing and twisting to look at anyone in the room.

• Rings: Eight of the snakes have beautifully crafted rings threaded onto them. Four are magical: ring of climbing, ring of jumping, ring of protection, ring of sustenance. Four are nonmagical, but very beautiful: a fire opal carved to resemble a basilisk (460 gp); a ring of jagged orange quartz (10 gp); a ring of black metal set with three opals (150 gp); a ring of goldleaf wood (2,500 gp; a pale ivory laced with veins that glitter like gold).

WORKTABLE: Cretai has a pair of goggles of minute seeing. He is attempting to modify the goggles alchemically to produce goggles of true seeing (without needing the arcane puissance to cast a true seeing spell), but his efforts have so far come to naught.

• A Guidance from Renn Sadar to the Archmage Cretai
• DM Background: Cretai acts as an agent for Renn Sadar (Ptolus, p. XX). Sadar funnels research abandoned by the Inverted Pyramid as being too dark or too dangerous to the Red Company of Magi through Cretai; Cretai sees to it that the secrets of the Red Company (and also the Vladaams) are fed back to Renn Sadar.

BOOKCASE: Contains lore concerning the Ethereal Plane. Offers a +4 bonus to any related Intelligence checks.

• Search – DC 14 Intelligence (Investigation): To find an everfull purse hidden in a hollow book.

Ring of Climbing (Uncommon): This ring grants the wearer a climbing speed equal to their normal speed.

Everfull Purse (Rare): This leather belt pouch has the power turn a single gold coin into many overnight. If a single gold piece is placed in the everfull purse at sunset, it will be replaced at sunrise by 25 gold pieces. The purse has no effect if more than one gold piece is left within, or if anything other than gold is placed with in.

AREA 14 – ARCHMAGE VERACK

This room is dominated by a luxurious red-and-gold rug depicting two dragons chasing each others’ tails in orbit around a blazing sunburst. Bookshelves line one wall of the room and a writing desk is positioned under the window.

BOOKS: A detailed and esoteric collection of dragon lore, notably including Lore of the Wyrmhoards in the Mountains of the East, granting advantage to any appropriate knowledge-based Intelligence checks.

WRITING DESK: Empty except for some blank sheets of paper and well-stoppered vials of ink. In one drawer there is a polished silver mirror with a single large crack running through it; the crack is blackened as if it had been caused by an intense flame, but the rest of the mirror is unharmed.

• DC 16 Intelligence (Arcana): This sort of mirror is used for scrying
• DC 22 Intelligence (Arcana): This sort of damage would be caused by a scrying spell encountering an overwhelming defense against scrying or an intense source of power.

SEARCH – DC 10 Intelligence (Investigate): There’s a definite layer of dust, a staleness to the sheets, and a general sense of disuse about the room. No one has been living in this room for at least several weeks.

SEARCH – DC 20 Intelligence (Investigate): There’s a hidden compartment under the rug containing:

• +1 dragon rifle
• mithril shirt
• scroll of ray of enfeeblement
• scroll of finger of death
• scroll of shocking grasp
• longsword in a scabbard of black leather with a dragon head of copper at its tip (see below)

SCABBARD – DC 10 Intelligence (Investigate) / DC 24 Wisdom (Perception): The scabbard is longer than the sword it holds. The tip is false and contains a ring of dragonform.

Ring of Dragonform (Rare): Fashioned from copper, this full finger ring is fashioned like a dragon’s claw. Once per day, the wearer may use an action to transform into either a young copper dragon (if the wearer is good) or young red dragon (if the wearer is evil). (A neutral wearer may choose which dragon form they are most akin to, but thereafter can only choose that form when using the ring.) This effect functions as a true polymorph spell.

GM Background: Verack is currently in the Imperial capital city of Trolone engaged in various arcane research.

AREA 15 – BALCONY

The doors from this balcony are arcane locked and have alarms on them (mental alarm, triggered to either Guildmaster Arzan or, for the door to Area 14, the Archmage Verack).

Note: This means that opening the door to Area 14 will effectively NOT trigger an alarm because Verack is too far away to receive it.

AREA 16 – ALIASTER’S SCULPTURES

Glass doors look out onto the balcony (Area 15), in addition to the double doors of oak leading to Area 12 and the small side door to the Apprentice Laboratory (Area 17). There are five pieces of sculpture on marble plinths located around the perimeter of the hall.

BALCONY DOORS: These doors are arcane locked and has an alarm on them (mental alarm, triggered to Guildmaster Arzan).

SCULPTURES: Each sculpture is marked with Aliaster’s arcane sigil. One of the sculptures is signed with the name “Aliaster.” (All of these sculptures were, of course, created by Aliaster Vladaam.)

Aliaster’s Arcane Sigil

SCULPTURE 1: A beautiful, nude maiden has been half exposed from an unfinished chunk of marble which is still half unhewn and rough. Her hair, which hangs down over her face (obscuring her visage entirely), is of elfin gold (flexible and pliant) and possessed of an enchantment which causes it to stir slightly as if caught in the breeze.

Every few minutes, the “breeze” picks up, causing the hair to sweep aside and reveal – for only the briefest of moments – the hideous, demonic, skull-like visage of the maiden’s face.

SCULPTURE 2: A massive, muscular arm thrusts up from the surface of the plinth. If anyone draws near, the arm will reach out plaintively towards them.

SCULPTURE 3: A simple bust of white stone, depicting the thoughtful visage of a beautiful woman. The plinth is labeled “Flambara, the Eternal Flame of My Heart.” (Use Philippe Faraut’s Guardian as a visual reference.)

SCULPTURE 4: Another simple bust of white stone, this one labeled “Nulara Aretari.” (Use Philippe Faraut’s Child of Senegal for visual reference.)

SCULPTURE 5: A sculpture of an ent sitting upon a rotting log, looking down in enigmatic thought upon the splayed body of a dead dryad. The ent’s leaves are enchanted so that they sway gently in an unseen wind.

AREA 17 – APPRENTICE LABORATORY

Multiple tables filled with a chaotic assortment of equipment and tools fill the walls and center of this room.

APPRENTICE WORK: The apprentices are currently being instructed on feather tokens. There is a completed anchor feather token and partially finished anchor feather token, bird feather token, and whip feather token.

There’s approximately 4,000 gp worth of miscellaneous equipment. Of particular note are two vials of universal solvent.

DM Background: This laboratory is used by the Vladaam Mages and Researchers. The Archmages and Guildmaster instruct them here or them crank out minor magical items according to the Guild’s needs.

AREA 18 – ARCHMAGES IMOGEN & ALDWYCK

A utilitarian chamber with two modest beds against opposite walls, flanking a pair of matching worktables. Next to one of the worktables is the partially constructed form of an iron statue. Its head lies on the table next to it.

FIRST WORKTABLE – IRON STATUE: This is actually a partially completed iron golem. Aldwyck is attempting to complete it in order to impress the other Archmages, but he’s bitten off more than he’s actually capable of.

• Iron Head: The head will blink and turn to look at anyone approaching the table. It will attempt to form words, but can say nothing.
• On the Table: An incomplete iron golem manual. It includes a copy of the cloudkill spell and would have a market value of 6,000 gp.

SECOND WORKTABLE: A +2 battleaxe of dwarven make lies on the table. The enchantments on it, however, have been dissected and splayed out using ethereal pinions – glowing beams of blue energy stretch tautly between the pinions and the waraxe.

• Removing Pinions: Removing the pinions without disrupting the axe’s enchantments requires a DC 25 Intelligence (Arcana) check. Proficiency with Smith’s Tools grants a +5 bonus on this check. On a failure, the battleaxe is destroyed (rendering it a mundane weapon). Tool proficiency
• Battleaxe: The battleaxe originates from the forges of Dwarvenhearth.

SEARCH – DC 12 Intelligence (Investigation): There’s a polished silver mirror worth 1,000 gp under the pillows on one of the beds.

• DC 18 Intelligence (Arcana): This is a scrying

DM Background: Imogen and Aldwyck are lovers. They are also the two newest archmages among the Red Magi.

AREA 19 – APPRENTICE BUNKS & DINING HALL

This room serves as basically a boarding house for all of the Vladaam Mages and Vladaam Researchers in the guild.

The walls of this chamber are lined with bunk beds that are four high. A large table and rickety-looking chairs fill the middle of the room. The table is covered in dirty dishes in various phases of filth and vaguely organic growth.

BUNK BEDS: A total of twenty-four berths in six stacks of four-high bunk beds.

TREASURE: Secreted under mattresses, lying around on small side tables, kicked into a corner.

• large steel shield +1
• a fancy cloak of silver wolf fur (110 gp)
• ivory and silver carving service (310 gp)
• ornamental silver inkpot with blue quartz gems (100 gp)
• silver locket with platinum filigree depicting a rose (90 gp)
• pouch containing 199 pp
• potion of levitate (cursed; the possessor must eat twice as much as normal for a fortnight)
• a violet spinel (600 gp)

AREA 20 – LIBRARY & ARCANE CIRCLE

The library is well-stocked with arcane lore. Studies in this library benefit from a +2 bonus to Intelligence (Arcana) checks.

BOOKS: In addition to a copy of Hate of the Cobra, the library contains copies of the following chaos lorebooks:

• Lore of the Demon Court
• Mouth of the Void
• The Writhing Obelisk
• The Earthbound Demons
• The Magi of Chaos
• Book of the Elder Brood: Akop

ARCANE CIRCLE: Spells cast within the arcane circle are treated as if they had been cast with a spell slot one level higher than the one used by their caster.

AREA 21 – REAR BALCONY

This area is surprisingly poorly guarded.

AREA 22 – ARCHMAGE TIANT

This room dances to the tune of the many multi-colored magical flames which fill it: A huge pit of blue fire that shifts to purple and then to red and then to yellow and back around again fills the center of the chamber. Candle-less candelabras jut out from the wall, while other flames go cavorting around and through the jumbled cascade of magicl equipment, books, and haphazard worktables.

IRON LADDER: Leads up to a trapdoor in the ceiling about 20 feet up.

WORKTABLES – DC 20 Wisdom (Perception): To notice that the top of one of the worktables has a concealed key hole (DC 22 Dexterity (thieves’ tools)). If unlocked, the tabletop can be lifted to reveal a hidden storage chamber containing:

• Liquid Pain (12 doses) and Letter from Gattara to Tiant
• GM Background: Tiant and Gattara are occasional lovers.

WORKTABLE – DC 20 Intelligence (Arcana): To recognize that Tiant is currently creating a staff of fire. Unusually, he appears to be hollowing out the core of the staff and inscribing it with alchemical sigils linked by arcane runes.

• GM Background: Tiant plans to fill the hollow core of the staff of fire with liquid pain, resulting in a the spells inside the staff being cast with a +2 spell slot level.

SEARCH – DC 18 Intelligence (Investigation): To detect a section of the wall brimming with magical potential. Pressing firmly against this magical potential causes a section of the wall to transform into a large, comfortable bed. Pressing the wall above the bed’s headboard causes the bed to re-merge with the wall.

AREA 23 – TOWER ROOF

A large apparatus of contorted metal and brass tubing has been erected on the roof.

APPARATUS – DC 15 Intelligence (Arcana): This is an etheric monitoring device. It maintains a connection with the Ethereal Plane and can be used to peer or scry into that plane.

AREA 24 – BASEMENT

A mummified corpse has been shackled to a wooden table in the corner of the basement. The rest of the room is piled high with an assortment of junk.

JUNK:

• a chest with a broken lid
• decayed clothing
• a jar of dead flies
• an alchemist’s kit (useless from age)
• a small ivory figurine that has been defaced past recognition
• wicker baskets with ripped out bottoms

MUMMY: The mummified corpse, however, is an actual mummy. Once part of some experiment, it was secured and then discarded down here with the rest of the junk.

Go to Part 13D: Red Magi Handouts

Go to Red Company of Magi

AREA 1 – ENTRY HALL

The white marble floor of the entry hall is perforated with dozens of tiny holes.

PRESTIDIGITATION HALL: Anyone stepping onto the floor of this room will have dirt, grime, blood, or other filth sloughed off their bodies due to a permanent prestidigitation effect. The filth disappears down the holes in the floor.

• GM Background: The paving stones of similar function in the Temple of the Ebon Hand were commissioned from the Red Company of Magi.

AREA 2 – MAIN HALL

A cross-shaped crimson carpet runs across the width and breadth of this large hall, with one leg crossing from Area 1 to Area 9 and the other leg running from a pair of double doors flanked by statues (leading to Area 6). On the wall opposite the statues, a golden disc has been inlaid in the floor.

CARPET OF SERPENTS: The red carpet is embroidered with four snakes which twist and twine around each other. Any Red Magi can speak a command word which will cause the snakes in the carpet to become animate as fiendish giant constrictor snakes.

Fiendish Constrictors: Use giant constrictor snake stats (MM 2024, p. 351) with the following abilities:

• Devil’s Sight: The fiendish constrictor has darkvision 60 ft. which is not impeded by magical darkness.
• Damage Resistance Cold, Fire; Nonmagical Attacks That Aren’t Silvered
• Magic Resistance: The fiendish constrictor has advantage on saving throws against spells and other magical effects.
• Fiendish Fangs: Bite attack is considered a magical weapon.

STATUES: One statue is of a strong, muscular man and purports to depict Vladaam, the founder of House Vladaam. The other depicts a beautiful woman in swirling robes holding an orb which glows with a faint blue light. This second statue has a plaque naming the woman Flambara of Ossyr.

• DC 16 Intelligence (History): Ossyr is the name of what was once one of the small Sea Kingdoms.
• GM Background: Flambara founded the Red Company of Magi with Aliaster in 691 IA and was his mistress. She was assassinated in 698 IA.

GOLDEN DISC: This disc displays an embossed map of the Empire, including the Whitewind and Southern Seas.

• True Seeing: Anyone looking at the disc with a see invisibility or true seeing effect will see small, glowing points of light which indicate the physical location of anyone carrying the badge of the Red Magi. Anyone touching the disc and naming someone with a Red Magi tattoo can contact them as per a sending spell and receive a response in return. Use of the disc while casting scrying on Red Magi causes inflicts a -5 penalty on their Will save against the scrying.
• Inscription: Engraved in an elegant script of Draconic around the perimeter of the disc. “A gift from the Red Company of Surveyors to our Brothers in the True Pursuit. Let us hold and send forth the eye of all knowledge.”

AREA 3 – DINING HALL

A well-worn dining hall.

CABINETS: Contain dishes, glasses, and silverware. All of that is normal, but the cabinets themselves are magical: If they are opened, telekinesis effects will set the table with a number of place settings equal to the number of people currently in the room.

CHEST OF SUSTENANCE: A simple cantrip on the large chest under the window on the south wall keeps food placed within it fresh.

AREA 4 – SUPPLY CLOSET

Contains alchemist’s supplies and spell components.

SPELL COMPONENTS: A generous supply for any spell of 5^th level or below, including:

• 100 gp pearls for identify (x12)
• lead-based ink for illusory script (100 gp worth)
• diamond dust for stoneskin and nondetection (1,500 gp worth)
• gold dust for arcane lock (300 gp worth)
• ruby dust for continual flame (600 gp worth)
• jade dust for magic mouth (100 gp worth)
• gilded skull for summon undead (300 gp)
• crushed black pearl powder for circle of death (1,000 gp worth)

AREA 5 – KITCHEN

A perfectly ordinary, well-stocked kitchen.

CELLAR DOOR: Trap door in the floor leads down to Area 24.

GM Background: The Red Magi keep trying to convince Madame Hammala (their cook and housekeeper) to let them “improve” the kitchen with various magical accoutrements. She refuses.

AREA 6 – GUILDHALL

A life-size jade statue of Kharos, God of Magic stands at the end of the hall before several rows of pews. It holds a tri-forked wand in his left hand and cradles a silver cat in the crook of his right arm. A crackling disc of blue energy three feet across stands directly in front of the statue. A basin stands in one corner of the room.

• DC 15 Wisdom: The cat is actually made from mithril and is worth 10,000 gp.

DISC OF BLUE ENERGY: A permanent floating disk on the floor in front Kharos’ statue. Anyone stepping on the disk will cause it to float 3 feet into the air.

• GM Background: Guild members will step onto the disk and become elevated while they speak to their fellow Red Magi.

BASIN OF WATER: A small basin filled with crystal clear water stands in the corner of the room. The basin is formed from the open mouth of a gaping, stylized dragon. It will purify any water placed within it, as per a purify food and water spell.

• GM Background: During guild meetings, members will ceremonially wash their face and hands at this basin before taking their seats.

AREA 7 – ARCHMAGE USTALLO

A long workbench stands along the western wall next to a low-slung divan with a hookah stand beside it. Several chests sit below the curve of the wall opposite. Two long bookshelves meet in the corner of the room beneath two paintings — one depicting a black dragon; the other a white dragon.

HOOKAH: Has 6 doses of abyss dust.

• GM Background: Ustallo is not yet addicted, but he does enjoy it.

PAINTINGS: DC 14 Intelligence (History) to recognize them as the work of Hashi, a very popular painter in the 620’s. They belong to a longer sequence known as the Chromatic Lightning, which features depictions of every type of dragon, each flying in a thunderstorm. Each painting is worth 500 gp.

BOOKS: An extensive research library on humanoid physiology. Grants advantage to diagnostic Heal checks.

SEARCH – DC 18 Wisdom (Perception): To detect a section of the wall brimming with magical potential. Pressing firmly against this magical potential causes a section of the wall to transform into a large, comfortable bed. Pressing the wall above the bed’s headboard causes the bed to re-merge with the wall.

GM Background: Archmage Ustallo also works as Guildmaster Arzan’s personal assistant.

AREA 8 – GUILDMASTER ARZAN

ALCHEMICAL LAB: A bubbling array of glass, copper, and alchemical concoctions are arrayed across two tables which fill the far wall of the chamber.

• There are notes detailing an effort to create an improved antitoxin (which would grant advantage to saving throws against poison for 1 day) based on a synthesis of chemicals found in the sting glands of a wyvern.
• DC 25 Intelligence (Alchemist’s Supplies): The entire approach is inherently flawed and was first tried by the Master Alchemist Tirnet Kal several centuries ago (although this is only detailed in obscure partial quotations from the Observations of Alchemical Reductions and the Deductions Therof, a book that was lost several centuries ago). (This check is made with a +10 bonus if the character has studied a copy of this lost work, which is available in the Complex of Zombies.)

DESK: A massive, curved desk with a high-backed chair of red velvet topped with a gold-gilted dragon stands before a broad window looking out across the front lawn of the manse.

• On the desktop are Reports from the Researchers on Crossing Street (see handouts).
• SEARCH – DC 12 Wisdom (Perception): A false bottom to one of the drawers contains an iron lockbox (DC 16 Dexterity (Thieves’ Tools)). It contains 60 gp, an alexandrite (300 gp), a chrysoprase (20 gp), a white opal (6,000 gp), a red-brown spinel (80 gp), a moss agate (11 gp), and a violet garnet (800 gp).

FIRETHORN BONSAI: On a decorative table in the corner near the window, there is a bonsai tree with small, dark red fruits. This is a firethorn bonsai. At night, the fruits have the appearance of being on fire.

• GM Background: This tree was taken from a cutting of the firethorn tree on the front lawn of the manse.

SEARCH – DC 18 Wisdom (Perception): To detect a section of the wall brimming with magical potential. Pressing firmly against this magical potential causes a section of the wall to transform into a large, comfortable bed. Pressing the wall above the bed’s headboard causes the bed to re-merge with the wall.

AREA 9 – RESPITE UNDER THE STAIR

A circular table with a scarred surface and several equally well-worn chairs are gathered in the corner of the open room at the base of some stairs heading up. A silver pitcher with a mouth formed like the head of a swan sits in the middle of the table, surrounded by some wooden cups.

SILVER EWER: Magically enchanted so that it is always full of a sweet, strawberry-tinted mead.

BROKEN BOOKCASE: Stored back behind the stairs.

AREA 10 – THE LOWER TOWER

Several large crates have been stacked at the base of a spiral staircase of white sandstone.

CRATES: Contain three set of alchemist’s supplies and 20,000 gp worth of material for creating magical items.

Go to Part 13C: Magi Guildhouse – 2nd Floor