Othello

A d20 Fantasy Sourcebook

Requires the use of the Dungeons & Dragons Player's Handbook, Third Edition, published by
Wizards of the Coast, Inc. This product utilizes updated material from the v.3.5 revision.

Introduction
First performed at the court of King James I on November 1st, 1604, The Tragedy of
Othello, the Moor of Venice is one of Shakespeare’s more unusual works. Set during
the war between Venice and Turkey of almost a half-century prier, the play tells a
sordid story of lust, hatred, revenge, murder, and suicide. Granted, these elements
alone hardly mark the play as different from any of the Bard’s other tragedies. What
makes Othello unique, however, is the title character; the play’s tragic hero. Men of
color and Moors had often been portrayed in Elizabethan and Jacobean theatre,
but usually as comic buffoons or as scheming villains. In Othello we
find a noble and heroic man worthy of admiration; and by play’s
end, the audience — no matter how white or how Christian
— finds itself empathizing with the ruined warrior.
Another unusual element of the play is it’s plot. The
hero, Othello, is a passive character who lets events
unfold around him and affect him and his life. Where
Macbeth is an active participant in his own destruction,
Othello is a spectator. This is made possible by the machina-
tions of the play’s villain, Iago; himself an unusual character. Most
villains, especially Shakespearean villains, have a clear and simple motive for what
they do; for example, Hamlet’s uncle desires the throne and his brother’s wife, which
requires the murder of the king. In the opening scene of Othello, Iago sites being
unjustly passed over for a promotion as the basis of his hatred of Othello; yet later
on, he claims to have feelings for Desdemona while entertaining paranoid suspi-
cions of Othello seducing his own wife. Yet none of these motivations merit
the level of intrigue and violence which unfolds in his plot. Some critics have
asserted that Iago is a latent homosexual and misogynist; that his repressed
love for Othello and hatred of women drive him to such twisted deeds. Others
believe that he simply revels in the chaos that he causes. Yet other readers
conjecture that Iago is himself a victim of his own villainy; that his scheming
was never meant to lead to murder and suicide, but that, once begun, his
plans spiral out of control. In the author’s humble opinion, Iago is a
dangerous sociopath suffering from paranoid delusions. This would
explain his need to manifest greater motivations for his actions as they
become more and more extreme and violent.
When running this play as an adventure, there are a couple of vital
themes and character issues to keep in mind. First, Othello is a man
of action; a great soldier. We have all heard that such men always
find the art of love to be difficult. Othello is the prime example of
this; he is profoundly more comfortable in full armor on the back
of a warhorse than he is in the marital bed. It is this insecurity
which makes him fertile ground for Iago‘s seeds of destruction.
Second, isolation is the key to Iago’s victory. As he slowly breaks
down the trust between the other characters, they withdraw into

Written by Jason J. McCuiston

 Page 2
themselves, making it that much easier for him to prey upon
their suspicions and insecurities. Even the remote military
outpost of Cyprus emphasizes this point; the characters are
isolated away from the familiar. Cut off from the Venetian
society and civilization she knows and understands, Desdemona
quickly loses the confidence and independence she displayed
earlier in the play. Likewise, away from the action of a battle-
field, Othello finds himself hard pressed to display his
masculinity, and reveals his own discomfort by becoming
passive and susceptible to Iago’s manipulations. To reflect this
in game terms, a DM may wish to have the PCs make a Will
Save every day that they are on the island (DC equal to 10 +
number of days there). Each failure imparts a cumulative -2
penalty on all Sense Motive checks and/or Will Saves made
during an encounter with Iago.
Summary
Dramatis Personae:
Duke of Venice (10th Level Aristocrat).
Brabantio, a Senator and father to Desdemona (8th Level
Aristocrat).
Senators.
Gratiano, a Venetian nobleman and brother to Brabantio (8th
Level Aristocrat).
Lodovico, a Venetian nobleman and kinsman to Brabantio (8th
Level Aristocrat).
Othello, the Moor in the service of Venice (see stat blocks
below).
Cassio, Othello’s honorable Lieutenant (2nd Level Warrior/ 3rd
Level Expert).
Iago, Othello’s Ancient (Ensign), and a villain (see stat blocks
below).
Roderigo, a gulled Venetian gentleman (see stat blocks below).
Montano, the Governor of Cyprus (5th Level Warrior).
Clown, servant to Othello (3rd Level Commoner).
Desdemona, daughter to Brabantio and wife to Othello (see stat
blocks below).
Emilia, wife to Iago (3rd Level Commoner).
Bianca, a courtesan in love with Cassio (1st Level Commoner).
A Sailor, a Messenger, a Herald, Officers, Gentlemen,
Musicians, and Attendants (all 1st Level Commoners or
Experts).
d20 Shakespeare
Act I:
The play begins with Iago and Roderigo walking purposefully
down a benighted Venetian street. As they head toward the
house of Brabantio, the pair argue over the fact that, despite
being paid by Roderigo, Iago has failed to help him woo
Desdemona. Iago assures Roderigo that he also hates the lover’s
rival, “the Moor”, due to being passed over for the promotion to
Lieutenant in favor of the bookish Cassio, and that his loyalty is
only feigned in order to serve his revenge. Roderigo hates the
mercenary general because he is in love with Desdemona, who
has apparently just eloped with the Moorish soldier. It is this
very news that the pair intends to bring to Brabantio’s attention.
The scene is full of racist slurs regarding Othello, whose name
is not even mentioned, as Roderigo and Iago prefer to refer to
him by the name of several animals. When Brabantio is alerted
to the alarm by Roderigo, Iago slinks away so that he is not
openly associated with the scandal. The scene ends with
Roderigo agreeing to lead Brabantio, his men and kinsmen to
where Desdemona and Othello are staying.
The second scene opens on another street, outside of an inn.
There, Iago is telling Othello how he regrets not killing
Roderigo for his insults against the Moor. In stark contrast to
the brutish savage that Iago has prepared the audience for,
Othello is a very noble and civil figure; almost awe-inspiring
with his self-effacing calm and commanding, articulate voice.
When a party with torches approaches, Iago believes that it is
Roderigo and Brabantio, and urges Othello to flee inside.
Othello declines. When it turns out to be Cassio and several
soldiers come to fetch the general to the Duke’s urgent war
council, Othello steps into the house for a moment to inform
Desdemona of his departure. While he is inside, Iago conspira-
torially informs Cassio that Othello is married, but before he
can tell him to whom, Othello returns and Brabantio’s vengeful
party also arrives. As Brabantio spouts accusations of witchcraft
and sorcery at the Moor, and both groups of men draw their
weapons, Othello calmly urges them to “Keep up your bright
swords, for the dew/ will rust them.” (Act I, Scene 2, Line 59).
When informed of Othello’s urgent summons to see the Duke,
Brabantio agrees to accompany and present his case on the same
occasion.
The next scene finds the Duke of Venice, along with several
other senators and attendants, in a council chamber discussing
recent dispatches concerning a Turkish invasion fleet. Though
the number of vessels varies between 107 ships to over 200, all
agree that it is a serious threat. As the discussion continues,
more dispatches arrive, one asserting that the fleet is headed for
Rhodes, and the next informing that the fleet has been rein-
forced by over thirty more ships and has changed course toward
Cyprus. As the council comes to the conclusion to reinforce
Cyprus, Othello, Brabantio, and the others arrive. In an overt
show of social importance, the Duke warmly welcomes Othello
before even acknowledging Brabantio’s presence. This does not
deter the enraged father from pleading his case, however; he
 Page 3
immediately launches his accusations of witchcraft and poison-
ings against the Moor.
Othello, despite claiming “Rude am I in my/ speech,/ And little
bless’d with the soft phrase of peace…” (I, 3, 81-82), very
eloquently answers the charges, describing how he was often
invited to Brabantio’s house by the senator to tell of his life of
adventures and battles, and how the fair Desdemona became
enamored of these tales. The Moor admits to the marriage and
to his love for Desdemona, but denies any unnatural means of
winning her devotion. The Duke summons Desdemona to
corroborate Othello’s claim of mutual love. When the lady
confirms her devotion to the Moor, Brabantio withdraws his
charges, but is little reconciled. The meeting then turns to the
urgent matter of state, namely the pending Turkish assault on
Cyprus. It is decided that Desdemona, under the care of Iago,
will follow her new husband to the isle’s defense as soon as is
practical; Othello is to sail at once.
As the assembly breaks up and the participants begin to depart,
Brabantio ominously warns Othello: “Look to her, Moor, if thou
hast eyes to/ see./ She has deceiv’d her father, and may thee” (I,
3, 293-294). After everyone else has departed, Roderigo and
Iago confer. Roderigo, heartbroken, is about to go drown
himself. Iago passionately dissuades him from doing so, while
at the same time exhorting (extorting) him to raise all the money
he can and to follow them all to Cyprus. He reaffirms their
friendship, based on their mutual hatred of Othello, and prom-
ises that he will help Roderigo to cuckold the Moor, and thus
win Desdemona from him. After Roderigo departs to sell all of
his land, Iago chuckles to himself how he has duped the forlorn
lover into financing his own revenge. He then mutters to
himself that he has heard rumors that Othello has often seduced
his own wife, and then strikes upon his plan to prey upon the
Moor’s trust and to frame Cassio and Desdemona for adultery.
After calling upon the powers of Hell and night, the villain then
departs.
Act II:
The second act begins with Montano and two gentlemen at the
Cyprus seaport, staring out to sea. They discuss the terrible
storm which has just passed the island and posit that the Turkish
fleet could not have survived such a tempest. They are soon
joined by another gentleman who confirms this, heralding
Cassio’s arrival. Cassio’s ship passed the wreckage of the
retreating fleet en route from Venice. As Cassio joins the group
and informs them that Othello is also to be expected, a shot
from the fort announces the approach of another friendly ship.
This turns out to be the vessel bearing Desdemona, Iago,
Roderigo, and Emilia.
When Cassio and Montano’s entourage are joined by the new
arrivals, Cassio greets Desdemona with an overly affectionate
kiss and hand-touching. Iago takes note of this and plans to use
it as proof of an affair between the two. Just as Cassio is telling
Desdemona that her husband has not yet arrived, another shot
d20 Shakespeare
from the fort announces the approach of Othello’s ship. The
group is soon joined by the tardy general, who warmly and
eloquently greets them all before telling Iago to see to the
luggage and conveying the rest to the castle. As they depart,
Iago and Roderigo once again find time to conspire. Iago
convinces Roderigo that Desdemona is already tiring of Othello,
but is more likely to fall for the younger, handsome, and suave
Cassio. His plan calls for Roderigo to insult Cassio during the
evening’s festivities, reasoning that Cassio’s resulting outburst
will cause him to lose face in the sight of Othello and the locals,
and thus lose his rank.
After Roderigo agrees and heads off to the castle, Iago suddenly
convinces himself that Cassio is in love with Desdemona, and
that she is probably in love with him as well. He then realizes
that he, himself, is now in love with the Moor’s wife; although
he admits it could be out of a sense of fair-play, once again
citing his unfounded suspicion that Othello has slept with
Emilia. Before departing, Iago outlines his plan: to use
Roderigo as his dupe to frame Cassio and Desdemona, and to
drive Othello to madness with jealousy.
The second scene depicts Othello’s herald proclaiming an
evening of feasting and revelry throughout the island of Cyprus
in celebration of the Turk’s sudden defeat, and to commemorate
Othello and Desdemona’s recent marriage.
The next scene is set in a hall of the castle on Cyprus. Othello,
Desdemona, Cassio, and attendants are leaving the banquet hall.
Othello gives Cassio instruction to oversee the night watch, to
insure that no one is drunk on duty after the evening’s revelry.
Cassio agrees to join Iago, and to meet with Othello in the
morning. Othello and Desdemona then retire to their postponed
marriage bed just before Iago enters the scene. When Cassio
tells him that they are to oversee the watch, Iago begs off for a
bit, and lures the young lieutenant into a slightly lewd appraisal
of Desdemona’s virtues, real and imagined. Then, knowing
Cassio’s inability to hold his wine, invites the Lieutenant to join
the locals for a toast to Othello’s health. Bound by courtesy and
custom, Cassio agrees and goes to fetch Montano and his
retinue. As soon as he is alone, Iago discloses his plan to get
Cassio drunk and then put him on watch with the already-drunk
Roderigo and three drunken local ruffians.
Things go better than Iago had planned, as, after a couple of
drinking songs and a couple of rounds, Cassio is blitzed half out
of his mind. When the drunken lieutenant leaves the revelers to
take his post on the battlements, Iago casually mentions to
Montano that, except for his drinking problem, Cassio is an
ideal soldier. When Montano points out that this is a serious
failing that should be brought to Othello’s attention, Iago feigns
love and loyalty to Cassio, declaring that he hopes to help the
young lieutenant to overcome his vice before it becomes a
problem. As if on cue, Roderigo strikes and is quickly chased
back into the hall at sword point by the enraged and drunken
Cassio. Montano attempts to intercede, but is, in turn, attacked
by Cassio. In the ensuing confusion, Iago takes his accomplice
 Page 4
aside and orders him to raise a general alarm throughout the
city, before turning back to the fight between Montano and
Cassio.
Just as Montano is wounded, Othello and his men, all armed,
enter the scene. Othello demands to know what is going on. As
Cassio is still somewhat drunk and Montano is wounded, it falls
to Iago to relate the events to the Moor. Masterfully feigning
loyalty to Cassio, the villain accurately recounts what happened
(without mentioning the identity of Roderigo or his own involve-
ment, of course). Calmly enraged, Othello discharges the
disgraced Cassio from his service and orders his men to carry
the wounded Montano away. He then departs with Desdemona
and their attendants, leaving Iago to craftily console Cassio. At
this point, Iago has gotten what he first wanted; Cassio’s
disgrace and dismissal. Now, however, he sees the opportunity
for his plot to use his first victim as his next tool. By convincing
Cassio that he can be reinstated by petitioning Desdemona to
plead on his behalf to Othello, Iago knows that he can easily
misconstrue this to Othello. As Cassio departs, Roderigo again
joins Iago, and tells him that, now that he is broke and beaten,
he has learned his lesson and is conntent to return to Venice,
somewhat wiser. Iago chides him for having no patience and
giving up when they are already finding success. He sends
Roderigo away to rest and await his further summons. Alone
again, Iago makes plans for his next step: he will use his own
wife as a go-between for Desdemona and Cassio, and he will
begin to poison Othello’s mind toward the two, himself.
Act III:
The third act opens with Cassio employing a band of musicians
to serenade Othello’s home as a gesture of apology. This comes
to naught, as Othello’s Clown soon appears and pays the musi-
cians not to play, making a vulgar comparison between their
wind instruments and flatulence. Cassio then pays the Clown to
ask Emilia to come and speak with him. As the Clown leaves,
Iago joins Cassio. The villain assures Cassio that he will have
his wife help him, and that he will make sure to get Othello out
of the way while Cassio speaks to Desdemona, further ingrati-
ating himself to the disgraced soldier. Iago then departs, and
Cassio is soon joined by Emilia, who informs him that Othello
and Desdemona have already discussed his plight, and that
Othello is already considering reinstating him as soon as it is
politic. Cassio then asks to see Desdemona, and Emilia agrees
to arrange the meeting.
The next scene briefly finds Othello, Iago, and some gentlemen
in the fortress. Othello gives Iago dispatches to the Senate
before going to survey the defenses with the other men.
The third scene opens on Cassio, Desdemona, and Emilia
walking in the gardens. In the course of their conversation,
Desdemona agrees to do all that she can to get Cassio rein-
stated, to which Emilia replies: “Good madam, do. I warrant it
grieves my/ husband/ As if the case were his” (Act III, Scene 3,
Lines 5-6); which reveals that Iago has even conned his own
d20 Shakespeare
wife. As they are talking, Iago and Othello enter the garden.
Ashamed to face Othello so soon after his disgrace, Cassio
hastily takes his leave, which gives Iago the opportunity to
subtly imply that there was something illicit in the meeting.
When Desdemona and Emilia are joined by the Moor and the
villain, Desdemona does not hesitate to start pleading Cassio’s
case, refusing to drop the subject until Othello finally declares:
“I will deny thee nothing” (III, 3, 77). The ladies soon leave
Iago and Othello alone, allowing the villain to begin his devilish
work. While acting oh so reluctant to say anything, Iago finally
intimates that Desdemona and Cassio may be having an affair.
However, his lies are so full of the truth — and his honesty is so
valued by all at this point — that Othello’s previous unwavering
trust and loyalty to Desdemona is shaken, and he begins to
doubt: “Why did I marry? This honest creatrue/ doubtless/ Sees
and knows more — much more than he/ unfolds” (III, 3, 247-
248). Iago then departs to leave Othello to his thoughts.
As the Moor begins to stew in his own doubts, misgivings, and
insecurities, Desdemona and Emilia return to summon him to
dinner. When Othello claims to have a headache, Desdemona
offers to wrap his head in her handkerchief. Somewhat irritably,
Othello waves her off — causing her to drop the token — and
he and Desdemona head into the castle. Emilia immediately
spots the lost handkerchief, and reveals that it was the first gift
Othello gave to Desdemona, and that Iago has many times
urged her to steal it. Despite acknowledging that Desdemona
treasures it, and that Othello charged her to always keep it as a
reminder of him, Emilia decides to give it to her husband. Iago
then appears and takes the handkerchief from her before sending
her off. Alone, he decides to plant the token in Cassio’s rooms
as further proof of the non-existent affair.
Othello then thunders back into the scene, his mental state
quickly unraveling. He grabs Iago by the throat and charges
him, upon pain of death, to prove that his wife is unfaithful. As
Iago’s speeches become more rational and eloquent, the
formerly articulate Moor becomes more and more impassioned.
By the scene’s end, Othello is completely convinced of his wife’
infidelity, having no more proof than Iago’s preposterous story
of witnessing Cassio talking in his sleep of Desdemona, despite
the Moor’s earlier claim that “I’ll see before I doubt; when I
doubt, prove” (III, 3, 194-195). The scene ends with both Iago
and Othello kneeling and taking a solemn vow to avenge
Othello’s honor on the two implicated adulterers. Iago goes off
to plant the handkerchief on Cassio and Othello retires to plan a
“swift means of death” for his wife.
The final scene of the act opens with Desdemona, Emilia, and
the Clown in the castle. Desdemona sends the Clown to go and
find Cassio and bring him to meet with Othello. Once the
Clown has departed, Desdemona reveals her distress at the
handkerchief’s loss: “I had rather lose my/ purse/ Full of crusa-
does” (III, 4, 22-23). Just as Desdemona tells Emilia that
Othello is not jealous, the Moor arrives and begins to question
her about the handkerchief. When she cannot immediately
produce it, he becomes agitated and tells her of the item’s
 Page 5
arcane origins. It was crafted by a woman prophet for over two
hundred years and sewn with the silk of sacred worms, and
dyed with the heart’s blood of mummified virgins. It was given
to Othello’s mother by an Egyptian woman, who told her that it
had the power to ensure perfect love and marital happiness as
long as it was kept; but if ever given away or lost, its magic
would have the exact opposite effect. Startled by Othello’s
obsessive manner and the macabre nature of his story,
Desdemona frantically tries to change the subject to the rein-
statement of Cassio. Othello, now totally enraged, will have
none of it and storms off with an oath.
The bewildered ladies are then joined by Cassio and Iago. When
Desdemona tells Cassio that he’d best wait awhile before he
meets with Othello, since the general is in a bad mood, Iago
makes a big deal out of Othello’s anger: “Can he be angry? I
have seen the cannon/ When it hath blown his ranks into the
air,/ And, like the devil, from his very arm/ Puff’d his own
brother — and is he angry?” (III, 4, 135-138). Iago rushes off to
check on Othello, and then Desdemona and Emilia follow. As
Cassio awaits their return, he is joined by Bianca, a local prosti-
tute who has become infatuated with him. She chastises him for
being absent from her company for a week. Cassio apologizes
and promises to make it up to her, and then he gives her the
handkerchief. Suspecting that it is a token from a new lover,
Bianca accuses Cassio of spending the past week with someone
else. He quickly refutes this charge and tells her that he found
the token in his room and would like to have her make him
another one like it. He then sends her off before the others
return.
Act IV:
The fourth act opens with Iago and Othello walking outside the
castle, already in discussion. At this point, Othello is already
completely under Iago’s influence; he has lost his heroic poise
and oratory prowess. Nowhere is this more pointedly displayed
than when he drops into a sudden epileptic fit when Iago tells
him that Cassio has recently bragged to him about sleeping with
Desdemona. While the Moor is in the throes of this seizure,
Cassio comes upon the two. When he offers to help, Iago tells
him that it is the second such fit in two days (an improbability)
and it would be best if he were not around when Othello recov-
ered, instead asking him to return as soon as the Moor is away.
When Othello recovers, Iago bids him hide nearby and observe
his conversation with Cassio when he returns. He tells the
general that he will goad Cassio into retelling his conquest of
Desdemona so that Othello can see how shameless the lieu-
tenant is. As soon as Othello is out of earshot, Iago impishly
announces that he will, in fact, ask the approaching Cassio
about his affair with the lowly Bianca. This plan works all too
well; Cassio laughs and makes lewd gestures as he talks of the
prostitute’s over-zealous advances and pursuit of him, all of
which drive Othello mad with rage and jealousy. Further proof
of the fictional affair arrives in the form of Bianca, herself,
when she comes to chide Cassio again for asking her to make a
d20 Shakespeare
copy of the handkerchief, which she still thinks is the token of
another lover’s affection. Threatening not to see him again if
Cassio does not dine with her that evening, Bianca then leaves
in a huff. Cassio follows her after agreeing to speak to Iago
again, later.
As soon as the enraged Moor joins Iago, the villain whips him
into a fervor, pointing out that not only has Cassio slept with
Desdemona, he mocks her for it: “And to see how/ he prizes the
foolish woman your wife! She gave [the handkerchief]/ him,
and he hath giv’n it his whore” (Act IV, Scene 1, Lines 171-
173). Othello wants to poison Desdemona for the outrage, but
Iago convinces him it is better to strangle her in the marriage
bed she has defiled. Iago promises to kill Cassio, himself. A
trumpet sounds, alerting them to the approach of an emissary of
Venice.
They are soon joined by Desdemona and her cousin, Lodovico
with his attendants. He brings word from the Duke that Othello
and Desdemona are to return to Venice while leaving Cassio as
governor of Cyprus. In his agitated state, Othello acts barbari-
cally, uttering oaths and curses in response to Lodovico’s ques-
tions regarding Cassio and Desdemona’s answers. When
Desdemona expresses her happiness at their pending return to
Venice, Othello actually loses his temper and strikes her, in
plain view of all present. He then refuses to apologize, even at
Lodovico’s prompting, and orders Desdemona away. Othello
accepts the orders and gruffly welcomes Lodovico to Cyprus
before stalking away. In shock, Lodovico cannot believe that
this is the same man who commands so much respect and honor
in Venice. Iago refuses to answer his questions, citing loyalty to
the general, but he does bid Lodovico to watch Othello’s
behavior.
The second scene opens with Othello questioning Emilia about
Desdemona and Cassio. Emilia praises the Moor’s wife for her
honesty and faithfulness and promises that she never saw nor
heard anything improper pass between them. Othello sends her
to fetch Desdemona, but is still suspicious despite this testi-
mony. When Desdemona arrives, Othello tells Emilia to leave
and close the door. He then accuses his wife of being a whore
without giving proof or even naming names. Needless to say,
Desdemona is completely baffled and unnerved by this turn of
events and can do little to defend herself against such
unfounded charges. Othello storms out again as Emilia comes in
to comfort her mistress. Desdemona is almost stupefied, unable
to coherently converse for a moment. Regaining a measure of
composure, she sends Emilia to bring Iago, knowing his
“honesty” and his closeness to her husband. Of course, Iago
plays the perfect friend and comforter, assuring Desdemona and
Emilia that some “knave” has put this thought in the general’s
mind, or else this sudden recall to Venice has him out of sorts.
In any case, he tells them to “weep not; all things shall be well”
(IV, 2, 172). The ladies then depart to dinner.
Iago is then joined by Roderigo, who has finally had enough.
He rails against the villain for his duplicity and for the jewels he
entrusted to Iago to pass as tokens to Desdemona and never
 Page 6
heard of again. Roderigo tells Iago that he intends to demand
the jewels back from her, and if she denies knowledge of them,
he will seek satisfaction from Iago. Of course, Iago takes this as
an opportunity to flatter Roderigo’s new-found mettle, and once
again enlist him in the cause. He tells Roderigo the half-truth
that Cassio is to replace Othello as Cyprus’ governor, but lies
and says that Othello and Desdemona are bound for Mauritania.
Knowing that Roderigo has no further funds to follow such an
excursion, Iago convinces him that the best way to get them to
stay is to kill Cassio. He then begins to unfold his plan to
ambush the lieutenant at Bianca’s house that very evening.
The act’s final scene opens with Othello, Desdemona, Emelia,
Lodovico, and attendants exiting the dining hall. Othello agrees
to walk a while with Lodovico, but not before ordering
Desdemona to go straight to bed, to dismiss Emelia, and await
his return. Desdemona faithfully carries out her husband’s
orders. However, while she prepares for bed, Desdemona is
haunted by a song, “Willow”, which her mother’s maid used to
sing (and died singing). Before being dismissed, Emelia
discusses with Desdemona the nature of jealousy and adultery
between men and women. Desdemona vows she would never
mistreat her husband in such a way, no matter the circum-
stances, while Emelia’s view is a bit more practical. She also
points out that if women to cuckold their husbands, it is usually
in response to the husband first mistreating the wife.
Act V:
The final act of the play begins with Iago and Roderigo
approaching the home of Bianca, where they intend to murder
Cassio. After positioning and instructing his dupe, Iago steps
into the shadows to give aid should Roderigo’s initial strike
prove false. While so secluded, Iago ponders how both men’s
deaths will benefit him. When Cassio does arrive, Roderigo
lunges from the shadows at him, but his rapier is turned by
Cassio’s breastplate. Cassio immediately draws his own sword
and stabs Roderigo, whereupon the hidden Iago launches his
own sneak attack before fleeing. Though Cassio is not mortally
wounded, he cries out “Help, ho! Murder!/ Murder!” (Act V,
Scene 1, Line 26). This is overheard by Othello, who thinks it is
proof enough that Iago has carried out his service and slain the
lieutenant. This bolsters his own resolve and he heads straight-
away to murder Desdemona.
Lodovico and Gratiano enter the scene, attracted by Cassio’s
cries for help. However, being that it is in a bad part of the city,
they fear that it is an ambush and wait until Iago suddenly
appears, armed and carrying a lantern. He chastises them for not
answering the plea for aid as he rushes in and feigns ignorance
and concern for Cassio’s wound. Seeing Roderigo still living in
the shadows, Iago quickly slays him in a fit of mock rage at the
lieutenant’s attack. As the three men try to tend Cassio’s crip-
pling wound, Bianca arrives and is obtusely accused by Iago as
an accomplice in the event. As Cassio slips in and out of
consciousness, a chair is brought in to convey him to the
d20 Shakespeare
general’s surgeon, and the group is joined by Emilia. After
Emilia and Bianca exchange barbs concerning honesty and
strumpetry, Iago orders Bianca to run ahead to the castle and tell
Othello and Desdemona of the events, and orders Bianca to
accompany them to the castle for further questioning. As the
scene ends, Iago, in an aside, mutters: “This is the night/That
either makes me or foredoes me quite” (V, 1, 127).
The final scene of the play is set in Othello and Desdemona’s
bedchamber. Othello enters the room with a candle and observes
Desdemona in her sleep. As he marvels at her beauty and vows
not to shed her blood nor mark her skin, the Moor compares
extinguishing the light of life with that of snuffing out a candle;
how the one can easily be rekindled and the other darkened
forever. With three kisses and bitter tears he almost falters,
commenting “…almost persuade/Justice to break her sword!”
(V, 2, 16). When Desdemona wakes, Othello calmly tells her to
say her prayers and seek forgiveness for her sins because he is
about to kill her. When she continues to deny his charges of
adultery, citing the purloined handkerchief and his misinter-
preted observation of Cassio’s lewd gestures, Othello again
becomes enraged and smothers her with a pillow even as she is
begging for just a little more life. Emilia arrives at the door just
as Desdemona is going limp and Othello passes in and out of
lucidity. However, Desdemona is not quite dead; when Emilia
enters the room, she calls out “O, falsely, falsely murder’d!” (V,
2, 119). When Emilia asks the dying woman how she was
murdered, Desdemona claims the responsibility for her own
death, to which Othello replies: “She’s like a liar gone to
burning hell;/’Twas I that kill’d her” (V, 2, 132). This begins a
heated argument wherein Emilia courageously defends her
mistress’s honor against the maddened Moor’s accusations, and
condemns her own husband’s soul to perdition upon learning of
his participation in the slander.
Just then Montano, Gratiano, and Iago enter. Emilia immedi-
ately challenges her husband to answer for his part in
Desdemona’s death. In the course of the heated argument,
Gratiano reveals that Brabantio is dead from grief over his
daughter’s marriage, and Emilia reveals the true story of how
Iago came to possess the handkerchief. Iago tries to stab his
own wife to keep her silent,but is restrained by the other
soldiers. When she has finished her story, Othello rushes at Iago
in a rage, but is restrained and disarmed by Montano and
Gratiano. This gives Iago the chance to stab Emilia and flee the
chamber. The soldiers pursue Iago, leaving Gratiano at the
chamber’s entrance to prevent Othello’s escape. Emilia dies on
the bed next to Desdemona, singing of her virtue to the broken
hearted Moor.
Othello, seeing his own ruin finds another sword in the room
and challenges Gratiano to come in and face him. However,
when Gratiano appears, Othello does not attack, though he
intimidates the Venetian before declaring his own guilt and
damnation. They are quickly joined by Montano, Lodovico,
Cassio, and the now-captured Iago, along with several soldiers.
Othello immediately lunges and wounds Iago before being
 Page 7
again disarmed. The Venetians then recount all of the plot to its
surviving participants, based on letters found on the dead
Roderigo. When they go take Othello into custody to share in
punishment with Iago, the Moor makes one final eloquent
speech, once again achieving some of his former poise and
grandeur, before stabbing himself with a concealed dagger. He
falls onto the bed to die with Desdemona and her loyal Emilia.
The play ends with Lodovico condemning Iago for his crimes,
and urging Cassio — the new governor of Cyprus — to ensure
that the villain suffers all he deserves for them before declaring
that he will carry the sorry news straightaway to Venice.
All text following this point is Open Game Content as defined
by the Open Gaming License. See page 11 for more informa-
tion.
Artifacts of the Play as
Magic Items:
Iago’s Wine: This is ordinary wine that Iago has dosed with a
concoction brewed with his knack for alchemy and herbalism.
Only he knows the recipe. Once imbibed, the wine forces the
drinker to make a Fortitude Save (DC 20) or become irascible
and violent at the slightest provocation (as if under the influence
of an Emotion (Hate) spell cast by a Sorceror of Iago‘s char-
acter level). The duration of the effect is 1d3 hours, at the end
of which, the drinker seems miraculously sober. An interesting
side effect of this is that no matter how violent the drinker
becomes, Iago is immune to his hostility.
Handkerchief of Abiding Love: When given as a token of
affection, this cursed item bonds the recipient to the giver, heart
and soul. As long as the recipient holds possession of the hand-
kerchief, the relationship appears to be the paragon of romance
and bliss, bestowing a +1 “love“ bonus on all Charisma-based
skill checks. However, if the token is ever lost, stolen, or given
away, the couple is doomed to unhappy times. In this event,
both parties suffer a -3 penalty to all Will Saves.
Spanish Ice-brook: This finely-crafted Scimitar +3 has a keen
edge and is immune to all Sunder attacks made with weapons of
less than +3 enchantment. This is one of Othello’s prized
possessions; he rarely carries it, preferring to keep it on display
in his private chambers. It is this blade which he uses to attack
Iago at the end of the play.
Dramatis Personae as Non-
Player Characters
A note on alignment: Alignments are not presented in the terms
of “good” or “evil” in the following stat blocks to allow for
greater flexibility in portraying the characters.
A note on skills: The bonus given after each skill in the
following stat blocks should reflect all bonuses and/or penalties
from relevant feats and equipment.
d20 Shakespeare
A note on equipment: In the period in which the play is set,
armor — especially the armor of noblemen and officers — was
designed to be modular, allowing for versatility in meeting the
needs of the occasion. Essentially, the same suit of armor could
be worn as full-plate armor (+8 to AC) for a full-scale battle or
tournament, half-plate (+7 to AC) for traveling in dangerous
territory or small-scale skirmishes, and as a breast plate (+5 to
AC) for ceremonial or day-to-day usage. As none of the action
in Othello takes place in or around a major battle or tournament,
it is assumed that the characters will usually only be wearing, at
most, a breastplate (which is represented in the following stats).
Player Characters who insist upon wearing their own heavy
armor in all situations will most-likely be considered either rude
or slightly mad. Also, although firearms of the period were
more-or-less reliable, gentlemen still preferred to carry swords
unless heading toward a battle, so pistols are not included in the
following stat blocks. Finally, the rapiers of the period had
much more in common with the medieval longsword than with
the thin dueling blades of a century or two later, and are repre-
sented as such below.
Following are stat blocks for some of the more important
figures in the play; some are given at varying levels and chal-
lenge-ratings to make it easier for DMs to incorporate them into
their games. For this reason no levels are given in the parenthet-
ical character class notes in the above Dramatis Personae.
Othello, Moorish general
in the service of Venice
(CR 5)
Lawful/Chaotic Male human Ftr 5: CR: 5; Medium human (6ft,
4in); HD 5, hp 44; Init +6; Spd 20 (30); AC 17, touch 12, flat-
footed 15; Base Atk +5, Grp +8; Atk +12 Scimitar +2
(1d6+5/18-20) ; Full Attack +12 Scimitar +2 (1d6+5/18-20);
SA none; SQ none; SV Fort +6, Ref +3, Will +1; Str 16, Dex
14, Con 14, Int 16, Wis 10, Cha 16.
Skills: Alchemy +8, Climb +2, Intimidate +6, Diplomacy +6,
Handle Animal +6, Heal +5, Jump +4, Knowledge
(Engineering) +6, Knowledge (History) +6, Ride +6, Swim -3.
Feats: Dodge, Mobility, Spring Attack, Improved Initiative,
Quick Draw, Weapon Focus: Scimitar.
Possessions: Scimitar +2, Masterwork dagger, Masterwork
breastplate (full-plate / half-plate armor), Apothecary kit
(combines Alchemical set with Healing kit).
Combat
Othello is a veteran of countless battles. Heroic and physically
powerful, Othello prefers to fight with cunning and intellect,
using his feats to best put himself at an advantage while placing
his opponent(s) in a weaker position. However, rarely the Moor
loses his composure and succumbs to baser emotions and
 Page 8
attacks without thought to consequence; it is at these moments
that he is arguably at his most dangerous.
Othello, Moorish general
in the service of Venice
(CR 10)
Lawful/Chaotic Male human Ftr 10: CR: 10; Medium human
(6ft, 4in); HD 10, hp 84; Init +6; Spd 20 (30); AC 17, touch
12, flat-footed 15; Base Atk +10, Grp +13; Atk +17 Scimitar +2
(1d6+7/18-20) ; Full Attack +17/+12 Scimitar +2 (1d6+7/18-
20); SA none; SQ none; SV Fort +9, Ref +5, Will +3; Str 16,
Dex 14, Con 14, Int 16, Wis 10, Cha 17.
Skills: Alchemy +10, Climb +4, Intimidate +9, Diplomacy +9,
Handle Animal +6, Heal +7, Jump +4, Knowledge
(Engineering) +8, Knowledge (History) +8, Ride +8, Swim -2.
Feats: Dodge, Mobility, Spring Attack, Improved Initiative,
Quick Draw, Weapon Focus: Scimitar, Combat Reflexes,
Expertise, Whirlwind Attack, Weapon Specialization: Scimitar,
Leadership.
Othello, Moorish general
in the service of Venice
(CR 15)
Lawful/Chaotic Male human Ftr 15: CR: 15; Medium human
(6ft, 4in); HD 15, hp 124; Init +6; Spd 20 (30); AC 17, touch
12, flat-footed 15; Base Atk +15, Grp +18; Atk +22 Scimitar
+2 (1d6+7/15-20) ; Full Attack +22/+17/+12 Scimitar +2
(1d6+7/15-20); SA none; SQ none; SV Fort +11, Ref +7, Will
+5 ; Str 16, Dex 14, Con 14, Int 16, Wis 10, Cha 18.
Skills: Alchemy +11, Climb +6, Intimidate +13, Diplomacy
+13, Handle Animal +8, Heal +8, Jump +6, Knowledge
(Engineering) +10, Knowledge (History) +10, Ride +8, Swim
+1.
Feats: Dodge, Mobility, Spring Attack, Improved Initiative,
Quick Draw, Weapon Focus: Scimitar, Combat Reflexes,
Expertise, Whirlwind Attack, Weapon Specialization: Scimitar,
Leadership, Power Attack, Cleave, Great Cleave, Improved
Critical: Scimitar.
Iago, Othello’s Ancient
and a Villain (CR 5)
Chaotic Male human Ftr 1/Rog 1/Sor 3: CR: 5; Medium
human (5ft, 7in); HD 5, hp 28; Init +2; Spd 30 (20); AC 17,
touch 12, flat-footed 15; Base Atk +2, Grp +4; Atk +5
Longsword (1d8+2) ; Full Attack +5 Longsword (1d8+2); SA
sneak attack +1d6; SQ trap finding, spells; SV Fort +4, Ref +5,
Will +7; Str 14, Dex 14, Con 13, Int 16, Wis 14, Cha 18.
Skills: Alchemy +7, Bluff +12, Climb +3, Concentration +5,
d20 Shakespeare
Gather Information +8, Intimidate +8, Hide +2, Jump +3,
Knowledge (Arcana) +7, Profession (Herbalist) +6, Ride +7,
Swim -1.
Feats: Iron Will, Skill Focus: Bluff, Spell Focus: Enchantment,
Weapon Focus: Longsword.
Spells: (6/6) Daze (0), Detect Magic (0), Ghost Sound (0), Read
Magic (0), Resistance (0), Charm Person (1), Expeditious
Retreat (1), Hypnotism (1).
Possessions: Breastplate, dagger, longsword.
Combat
Iago prefers to avoid fighting whenever possible, especially
open combat. However, if he’s reasonably sure he can get a
sneak attack in and get away without being caught, he’ll do it in
a heartbeat.
Iago, Othello’s Ancient
and a Villain (CR 10)
Chaotic Male human Ftr 2/Rog 2/Sor 6: CR: 10; Medium
human (5ft, 7in); HD 10, hp 62; Init +2; Spd 30 (20); AC 17,
touch 12, flat-footed 15; Base Atk +6, Grp +8; Atk +9
Longsword (1d8+2) ; Full Attack +9/+4 Longsword (1d8+2);
SA sneak attack +1d6; SQ trap finding, evasion, spells; SV Fort
+7, Ref +7, Will +9; Str 14, Dex 14, Con 14, Int 16, Wis 14,
Cha 18.
Skills: Alchemy +11, Bluff +17, Climb +4, Concentration +10,
Gather Information +12, Intimidate +10, Hide +6, Jump +4,
Knowledge (Arcana) +11, Profession (Herbalist) +10, Ride +8,
Swim 0.
Feats: Iron Will, Skill Focus: Bluff, Spell Focus: Enchantment,
Weapon Focus: Longsword, Combat Casting, Quick Draw.
Spells: (6/7/6/4) Daze (0), Detect Magic (0), Ghost Sound (0),
Read Magic (0), Resistance (0), Arcane Mark (0), Mage Hand
(0), Charm Person (1), Expeditious Retreat (1), Hypnotism (1),
Mage Armor (1), Blindness/Deafness (2), Locate Object (2),
Suggestion (3).
Iago, Othello’s Ancient
and a Villain (CR 15)
Chaotic Male human Ftr 3/Rog 3/Sor 9: CR: 15; Medium
human (5ft, 7in); HD 15, hp 91; Init +2; Spd 30 (20); AC 17,
touch 12, flat-footed 15; Base Atk +7, Grp +9; Atk +12
Longsword (1d8+2/17-20); Full Attack +12/+7 Longsword
(1d8+2/17-20); SA sneak attack +2d6; SQ trap finding, evasion,
trap sense +1,spells; SV Fort +9, Ref +9, Will +12; Str 14, Dex
14, Con 13, Int 16, Wis 14, Cha 19.
Skills: Alchemy +15, Bluff +22, Climb +5, Concentration +14,
Gather Information +16, Intimidate +12, Hide +10, Jump +5,
 Page 9
Knowledge (Arcana) +15, Profession (Herbalist) +14, Ride +9,
Swim +1.
Feats: Iron Will, Skill Focus: Bluff, Spell Focus: Enchantment,
Weapon Focus: Longsword, Combat Casting, Quickdraw,
Expertise, Improved Critical: Longsword.
Spells: (6/7/7/7/5) Daze (0), Detect Magic (0), Ghost Sound (0),
Read Magic (0), Resistance (0), Arcane Mark (0), Mage Hand
(0), Detect Poison (0), Charm Person (1), Expeditious Retreat
(1), Hypnotism (1), Mage Armor (1), Sleep (1),
Blindness/Deafness (2), Locate Object (2), Alter Self (2), Detect
Thoughts (2), Suggestion (3), Hold Person (3), Keen Edge (3),
Confusion (4), Emotion (4).
Desdemona, Wife to Othello
and lady of Venice (CR 5)
Lawful Female human Ari 5: CR: 5; Medium human (5ft, 6in);
HD 5, hp 28; Init +3; Spd 30; AC 15, touch 15, flat-footed 12;
Base Atk +3, Grp +3; Atk +3 unarmed (1d3 subdual) ; Full
Attack +3 (1d3 subdual); SA none; SQ none; SV Fort +2, Ref
+4, Will +7; Str 10, Dex 16, Con 12, Int 16, Wis 15, Cha 18.
Skills: Diplomacy +14, Gather Information +10, Knowledge
(Royalty and Nobility) +10, Knowledge (History) +10,
Knowledge (Healing) +9, Knowledge (Religion) +13, Listen +8,
Perform (Sing) +14, Ride +9, Spot +8.
Feats: Skill Focus: Diplomacy, Skill Focus: Religion, Skill
Focus: Singing.
Possessions: Ring of Protection +2, Handkerchief of Abiding
Love.
Combat
Desdemona is a non-combatant in every sense of the word. She
will only defend herself, and then only with non-lethal means.
Desdemona, Wife to Othello
and lady of Venice (CR 10)
Lawful Female human Ari 10: CR: 10; Medium human (5ft,
6in); HD 10, hp 55; Init +3; Spd 30; AC 15, touch 15, flat-
footed 12; Base Atk +7, Grp +7; Atk +7 unarmed (1d3 subdual)
; Full Attack +7/+2 (1d3 subdual); SA none; SQ none; SV Fort
+4, Ref +6, Will +9; Str 10, Dex 16, Con 13, Int 16, Wis 15,
Cha 18.
Skills: Diplomacy +18, Gather Information +14, Knowledge
(Royalty and Nobility) +16, Knowledge (History) +13,
Knowledge (Healing) +15, Knowledge (Religion) +17, Listen
+11, Perform (Sing) +18, Ride +12, Spot +11.
Feats: Skill Focus: Diplomacy, Skill Focus: Religion, Skill
Focus: Singing, Skill Focus: Royalty and Nobility, Skill Focus:
Healing.
d20 Shakespeare
Desdemona, Wife to Othello
and lady of Venice (CR 15)
Lawful Female human Ari 15: CR: 15; Medium human (5ft,
6in); HD 15, hp 84; Init +3; Spd 30; AC 15, touch 15, flat-
footed 12; Base Atk +11, Grp +11; Atk +11 unarmed (1d3
subdual) ; Full Attack +11/+6/+1 (1d3 subdual); SA none; SQ
none; SV Fort +7, Ref +8, Will +11; Str 10, Dex 16, Con 14,
Int 16, Wis 15, Cha 18.
Skills: Diplomacy +22, Gather Information +17, Knowledge
(Royalty and Nobility) +20, Knowledge (History) +19,
Knowledge (Healing) +18, Knowledge (Religion) +21, Listen
+17, Perform (Sing) +22, Ride +15, Spot +14.
Feats: Skill Focus: Diplomacy, Skill Focus: Religion, Skill
Focus: Singing, Skill Focus: Royalty and Nobility, Skill Focus:
Healing, Skill Focus: History, Skill Focus: Listen.
Roderigo, a gull’d
gentleman of Venice (CR 4)
Neutral Male human Ftr 2/ Rog 2: CR: 4; Medium human (5ft,
8in); HD 4, hp 32; Init +8; Spd 30; AC 16, touch 14, flat-
footed 12; Base Atk +3, Grp +5; Atk +6 Longsword (1d8+2/19-
20) ; Full Attack +6 Longsword (1d8+2/19-20); SA sneak
attack +1d6; SQ trapfinding, evasion; SV Fort +5, Ref +7, Will
+0; Str 15, Dex 18, Con 15, Int 14, Wis 10, Cha 13.
Skills: Climb +6, Craft (Gemcutting) +7, Handle Animal +5,
Hide +10, Jump +6, Listen +5, Move Silently +10, Ride +8,
Spot +5, Swim +1.
Feats: Improved Initiative, Quick Draw, Run, Expertise,
Weapon Focus: Longsword.
Possessions: Leather buff coat (leather armor), longsword,
dagger.
Combat:
Ordinarily, Roderigo is a peaceful fellow, eschewing the martial
arts for more genteel pursuits. However, Iago has a way of
goading his more aggressive instincts to the surface. When set
to a task, even a violent one, by the villain, Roderigo is a
capable and innovative agent. He will prefer to strike from
hiding, using his sneak attack ability. If things look bad, he will
take advantage of his Run feat, and try to make a hasty retreat.
Roderigo, a gull’d
gentleman of Venice (CR 8)
Neutral Male human Ftr 4/ Rog 4: CR: 8; Medium human (5ft,
8in); HD 8, hp 60; Init +8; Spd 30; AC 16, touch 14, flat-
footed 12; Base Atk +7, Grp +10; Atk +11 Longsword
(1d8+2/19-20) ; Full Attack +11/+6 Longsword (1d8+2/19-
 Page 10
20); SA sneak attack +2d6; SQ trapfinding, evasion, trap sense
+1, uncanny dodge; SV Fort +7, Ref +9, Will +2; Str 16, Dex
18, Con 15, Int 14, Wis 10, Cha 13.
Skills: Climb +9, Craft (Gemcutting) +8, Handle Animal +7,
Hide +15, Jump +9, Listen +11, Move Silently +15, Ride +10,
Spot +11, Swim +3.
Feats: Improved Initiative, Quick Draw, Run, Expertise,
Weapon Focus: Longsword, Combat Reflexes.
Roderigo, a gull’d
gentleman of Venice (CR 12)
Neutral Male human Ftr 6/ Rog 6: CR: 12; Medium human (5ft,
8in); HD 12, hp 100; Init +8; Spd 30; AC 16, touch 14, flat-
footed 12; Base Atk +10, Grp +13; Atk +14 Longsword
(1d8+2/17-20); Full Attack +14/+9 Longsword (1d8+2/17-20);
SA sneak attack +3d6; SQ trapfinding, evasion, trap sense +2,
uncanny dodge; SV Fort +10, Ref +11, Will +4; Str 16, Dex 18,
Con 16, Int 14, Wis 10, Cha 13.
Skills: Appraise +8, Climb +11, Craft (Gemcutting) +10,
Handle Animal +8, Hide +19, Jump +11, Listen +15, Move
Silently +19, Ride +11, Spot +15, Swim +5.
Feats: Improved Initiative, Quick Draw, Run, Expertise,
Weapon Focus: Longsword, Combat Reflexes, Dodge,
Improved Critical: Longsword.
Story Seeds
Following are three different adventure models based on the
play Othello. The first will help the DM insert his players’ char-
acters into the drama as the play is written. The second will take
an alternate approach to the play, where the Moor is the villain
and not the hero. And the last will be a total departure from the
expectations of the play, while still using the characters and
setting.
As the Play: The best way to cast the PCs in the play is to
make them loyal friends of either Cassio (for lower-status char-
acters), or of Othello and/or Desdemona (for higher-status
characters). It is their job to try and prevent Iago’s plots and
schemes from coming to bloody fruition. In the process, they
may become targets, themselves, of the villain’s wrath. The key
to the success of the play as an adventure is that everyone on
Cyprus believes Iago to be a paragon of wisdom and honesty; a
just and loyal soldier. Even if the Player Characters know him
for the villain he is, they will not be able to openly move
against him without strong, viable proof of his duplicity. As
Iago gets a stronger hold on Othello, the supreme power on
Cyprus, opposing him will become extremely more dangerous.
Iago will also be more than willing to use Roderigo as his secret
soldier and henchman against the heroes.
d20 Shakespeare
Othello as Villain: In this permutation of the play, it is Othello
— not Iago — who is the villain. He has, in fact, used sorcery
and potions to bewitch the fair Desdemona, and steal her from
her true love, Roderigo. Because of his political power and
closeness to the Duke, he cannot be openly assailed by the
Senator Brabantio. However, in secrecy, the enraged father has
hired the PCs to follow the Moor and his daughter to Cyprus,
and there, away from the supervision of the Duke and the
Senate, free Desdemona from the clutches of the wicked
general. Iago, in this version, is an honest and loyal soldier
working on behalf of his friend Roderigo, and will be an able
ally for the characters. However, once on Cyprus, Othello
commands the entire garrison (at least 100 1st and 2nd Level
Warriors), including his loyal lieutenant Cassio, and the veteran
Montano, making the prospect of opposing him daunting, to say
the least.
In this version, it is the Handkerchief which has placed the spell
on Desdemona, and is the source of Othello’s power over her.
He also drugs her frequently to insure the magic’s power is
potent enough to overcome her strong will. It is imperative that
the PCs destroy the Handkerchief during the rescue. Locating
the Moor’s apothecary set is of secondary importance. Also note
that if the PCs enter Othello and Desdemona’s chamber, they
are much more likely to face the Moor while armed with the
Spanish Ice-brook, which would make him an even more formi-
dable foe.
Iago as Demon: In this retelling, Iago is no mere mortal content
with schemes and plots of revenge; he is a demon in disguise,
come to steal souls and prolong an already bloody war. In this
enterprise, he will act very much like the villain of the play as it
is written. However, he will not limit his machinations to the
victims Othello, Desdemona, and Cassio; instead, he will even
try to concoct plots that isolate the player characters from one-
another, breeding suspicion, fear, hatred, and violence. One of
his favorite tricks in this cause is to get the characters drunk on
his special wine. Of course, when confronted with an unavoid-
able conflict, Iago will use all of his hellish powers to destroy
his opponents.
How best to present Iago as a demon is left to the individual
DM. You may wish to choose from the various Devils and
Demons in the Monster Manual ™, or you may simply wish to
add the subtype: Outsider to the above stats, along with a
Damage Reduction rating and perhaps a Vulnerability to all
things Holy.
Bibliography:
The Complete Works of Shakespeare ed. by George Lyman
Kittredge, 1936.
Complete Works of William Shakespeare 1994 edition;
HarperCollins publishers.
SparkNotes.com by Barnes & Noble.
 Open Game License Version 1.0a
The following text is the property of Wizards of the Coast, Inc. and is
Copyright 2000 Wizards of the Coast, Inc ("Wizards"). All Rights
Reserved.
1. Definitions: (a)"Contributors" means the copyright and/or trademark
owners who have contributed Open Game Content; (b)"Derivative
Material" means copyrighted material including derivative works and
translations (including into other computer languages), potation, modi-
fication, correction, addition, extension, upgrade, improvement,
compilation, abridgment or other form in which an existing work may
be recast, transformed or adapted; (c) "Distribute" means to reproduce,
license, rent, lease, sell, broadcast, publicly display, transmit or other-
wise distribute; (d)"Open Game Content" means the game mechanic
and includes the methods, procedures, processes and routines to the
extent such content does not embody the Product Identity and is an
enhancement over the prior art and any additional content clearly iden-
tified as Open Game Content by the Contributor, and means any work
covered by this License, including translations and derivative works
under copyright law, but specifically excludes Product Identity. (e)
"Product Identity" means product and product line names, logos and
identifying marks including trade dress; artifacts; creatures characters;
stories, storylines, plots, thematic elements, dialogue, incidents,
language, artwork, symbols, designs, depictions, likenesses, formats,
poses, concepts, themes and graphic, photographic and other visual or
audio representations; names and descriptions of characters, spells,
enchantments, personalities, teams, personas, likenesses and special
abilities; places, locations, environments, creatures, equipment,
magical or supernatural abilities or effects, logos, symbols, or graphic
designs; and any other trademark or registered trademark clearly iden-
tified as Product identity by the owner of the Product Identity, and
which specifically excludes the Open Game Content; (f) "Trademark"
means the logos, names, mark, sign, motto, designs that are used by a
Contributor to identify itself or its products or the associated products
contributed to the Open Game License by the Contributor (g) "Use",
"Used" or "Using" means to use, Distribute, copy, edit, format, modify,
translate and otherwise create Derivative Material of Open Game
Content. (h) "You" or "Your" means the licensee in terms of this agree-
ment.
2. The License: This License applies to any Open Game Content that
contains a notice indicating that the Open Game Content may only be
Used under and in terms of this License. You must affix such a notice
to any Open Game Content that you Use. No terms may be added to or
subtracted from this License except as described by the License itself.
No other terms or conditions may be applied to any Open Game
Content distributed using this License.
3.Offer and Acceptance: By Using the Open Game Content You indi-
cate Your acceptance of the terms of this License.
4. Grant and Consideration: In consideration for agreeing to use this
License, the Contributors grant You a perpetual, worldwide, royalty-
free, non-exclusive license with the exact terms of this License to Use,
the Open Game Content.
5.Representation of Authority to Contribute: If You are contributing
original material as Open Game Content, You represent that Your
Contributions are Your original creation and/or You have sufficient
rights to grant the rights conveyed by this License.
6.Notice of License Copyright: You must update the COPYRIGHT
NOTICE portion of this License to include the exact text of the
COPYRIGHT NOTICE of any Open Game Content You are copying,
modifying or distributing, and You must add the title, the copyright
date, and the copyright holder's name to the COPYRIGHT NOTICE of
any original Open Game Content you Distribute.
7. Use of Product Identity: You agree not to Use any Product Identity,
including as an indication as to compatibility, except as expressly
licensed in another, independent Agreement with the owner of each
element of that Product Identity. You agree not to indicate compati-
bility or co-adaptability with any Trademark or Registered Trademark
in conjunction with a work containing Open Game Content except as
expressly licensed in another, independent Agreement with the owner
of such Trademark or Registered Trademark. The use of any Product
Identity in Open Game Content does not constitute a challenge to the
ownership of that Product Identity. The owner of any Product Identity
used in Open Game Content shall retain all rights, title and interest in
and to that Product Identity.
8. Identification: If you distribute Open Game Content You must
clearly indicate which portions of the work that you are distributing
are Open Game Content.
9. Updating the License: Wizards or its designated Agents may publish
updated versions of this License. You may use any authorized version
of this License to copy, modify and distribute any Open Game Content
originally distributed under any version of this License.
10. Copy of this License: You MUST include a copy of this License
with every copy of the Open Game Content You Distribute.
11. Use of Contributor Credits: You may not market or advertise the
Open Game Content using the name of any Contributor unless You
have written permission from the Contributor to do so.
12. Inability to Comply: If it is impossible for You to comply with any
of the terms of this License with respect to some or all of the Open
Game Content due to statute, judicial order, or governmental regula-
tion then You may not Use any Open Game Material so affected.
13. Termination: This License will terminate automatically if You fail
to comply with all terms herein and fail to cure such breach within 30
days of becoming aware of the breach. All sublicenses shall survive
the termination of this License.
14. Reformation: If any provision of this License is held to be unen-
forceable, such provision shall be reformed only to the extent neces-
sary to make it enforceable.
15. COPYRIGHT NOTICE
Open Game License v 1.0a Copyright 2000, Wizards of the Coast, Inc.
Modern System Reference Document Copyright 2002-2003, Wizards
of the Coast, Inc.; Authors Bill Slavicsek, Jeff Grubb, Rich Redman,
Charles Ryan, Eric Cagle, David Noonan, Stan!, based on material by
Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, Peter
Adkison, Bruce R. Cordell, John Tynes, Andy Collins, and JD Wiker.
D20 Shakespeare: Othello, Copyright 2005, Louis Porter Jr. Design,
Inc.