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Matt Corley, Mark Hart, Cat Evans, Damien Mammoliti
Sandy Petersen
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Sandy Petersen’s Cthulhu Mythos: Have You Found It? Act 3: Oratorio, © 2021, Petersen Games.
Printed in China.
ISBN-13: 978-1-950982-23-3

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Table of Contents
Previously . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Adventure Synopsis . . . . . . . . . . . . . . . . . . . 2
Adventure Hooks . . . . . . . . . . . . . . . . . . . . 2
Friends, Allies, and Enemies . . . . . . . . . . . . 2
NPCs Living and Dead. . . . . . . . . . . . . . . . . 3
Connecting the Clues . . . . . . . . . . . . . . . . . 3
Continuing the Hastur Track. . . . . . . . . . 4
Chapter 1: Descent into Chaos . . . . 5
Chapter Synopsis . . . . . . . . . . . . . . . . . . . . . 5
Sidebar: Scene Order. . . . . . . . . . . . . . . . . . . . . . . . 6
Scene 1. Mob Violence. . . . . . . . . . . . . . . . . 7
Sidebar: A Wounded Party . . . . . . . . . . . . . . . . . . . 10
Interlude. The Dead Shall
Punish the Wicked. . . . . . . . . . . . . . . . . . . 11
Scene 2. The Tower of Castigation . . . . . . 12
Stealth and Subterfuge. . . . . . . . . . . . . . . 12
Checkpoint #1: Baffle them with Bull. . . . . . . . . . . . . 13
Checkpoint #2: Bribery is the Best Policy. . . . . . . . . . 14
Checkpoint #3: I Demand to Speak to
Your Supervisor. . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Checkpoint #4: Sneaky Weasels, Charming Weasels. . . 14
A Friendly Favor. . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Prisoner Exchange. . . . . . . . . . . . . . . . . . . . . . . . . . 15
Sidebar: A Precious Commodity. . . . . . . . . . . . . . . . 16
Scene 3. A Time for Strategy. . . . . . . . . . . 17
Sidebar: Streamlining the Fight. . . . . . . . . . . . . . . . . 18
Optional Interlude: The Nightmare Visitor. . 19
Sidebar: A Lapse in Judgment. . . . . . . . . . . . . . . . . . 19
Scene 4. A Disturbing Lack of Faith. . . . . 19
Catacomb Encounter Table. . . . . . . . . . . . . . . . . . . 20
The Temple of Irisia . . . . . . . . . . . . . . . . 20
The Combat Path. . . . . . . . . . . . . . . . . . . . 21
The Parley Path . . . . . . . . . . . . . . . . . . . 22
The Command Word. . . . . . . . . . . . . . . . . 22
The Yellow Sign Calls to Me . . . . . . . . . . . 22
Scene 5. Across the Mad-Swept Ocean . . . 23
Conclusion . . . . . . . . . . . . . . . . . . . . . . . 24
Sidebar: Experience Points. . . . . . . . . . . . . . . . . . . 24
Chapter 2: A Mad Funhouse . . . . . 25
Chapter Synopsis . . . . . . . . . . . . . . . . . . . . 25
The Approach. . . . . . . . . . . . . . . . . . . . . . . 25
The Tzekes Mansion. . . . . . . . . . . . . . . . . . 26
Alien Geometries. . . . . . . . . . . . . . . . . . . . . . . . . . 27
Alien Geometries Table . . . . . . . . . . . . . . . . . . . . . 27
Environmental Conditions. . . . . . . . . . . . . . . . . . . 28
Sidebar: Familiar Places. . . . . . . . . . . . . . . . . . . . . 29
A. Ground Floor. . . . . . . . . . . . . . . . . . . . 29
A1. Front Entrance. . . . . . . . . . . . . . . . . . . . . . . . . 29
A2. Grand Foyer . . . . . . . . . . . . . . . . . . . . . . . . . . 29
A3. Majordomo’s Quarters. . . . . . . . . . . . . . . . . . . 30
A4. Servants’ Quarters. . . . . . . . . . . . . . . . . . . . . . . 31
A5. Servants’ Quarters . . . . . . . . . . . . . . . . . . . . . . . 31
A6. Servants’ Dining Room. . . . . . . . . . . . . . . . . . . . 31
A7. Kitchen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
A8. Waiting Room . . . . . . . . . . . . . . . . . . . . . . . . . 32
A9. Assistant Steward’s Quarters. . . . . . . . . . . . . . . 32
A10. Grand Hall . . . . . . . . . . . . . . . . . . . . . . . . . . 32
A11. Exhibition Room. . . . . . . . . . . . . . . . . . . . . . . 33
A12. Study. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
A13. East Wing Front Hall. . . . . . . . . . . . . . . . . . . . 35
A14. Waiting Room. . . . . . . . . . . . . . . . . . . . . . . . . 35
A15. Storage Room. . . . . . . . . . . . . . . . . . . . . . . . . 35
A16. West Wing Front Hall . . . . . . . . . . . . . . . . . . . 35
A17. Guest Room. . . . . . . . . . . . . . . . . . . . . . . . . . 36
A18. Guest Room. . . . . . . . . . . . . . . . . . . . . . . . . . 36
A19. Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Sidebar: Unhooking the Dimensional Chain . . . . . . . . . . . . . 37
A20. Entrance to the Catacombs. . . . . . . . . . . . . . . 38
B. Second Floor . . . . . . . . . . . . . . . . . . . . 38
B1. Second Floor Landing. . . . . . . . . . . . . . . . . . . . 39
B2. Apothecary . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
B3. Upstairs Servants’ Quarters. . . . . . . . . . . . . . . . 39
B4. Luxurious Suite. . . . . . . . . . . . . . . . . . . . . . . . 40
B5. Storage Closets. . . . . . . . . . . . . . . . . . . . . . . . .40
B6. The Baths . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
B7. Meeting Hall . . . . . . . . . . . . . . . . . . . . . . . . . . 40
B8. Master Bedroom . . . . . . . . . . . . . . . . . . . . . . . . 41
B9. Secret Office . . . . . . . . . . . . . . . . . . . . . . . . . . 42
B10. The Hound Awaits. . . . . . . . . . . . . . . . . . . . . 43
B11. Menagerie in Miniature. . . . . . . . . . . . . . . . . . 43
B12. Grand Chapel . . . . . . . . . . . . . . . . . . . . . . . . 44
B13. Hallway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
B14. Guest Room. . . . . . . . . . . . . . . . . . . . . . . . . . 44
B15. Bedroom of Anushka Tzekes . . . . . . . . . . . . . . 44
B16. Favored Guest Room. . . . . . . . . . . . . . . . . . . . 45
B17. Isvhani’s Study . . . . . . . . . . . . . . . . . . . . . . . . 45
B18. Guest Room. . . . . . . . . . . . . . . . . . . . . . . . . . 46
B19. Bedroom of Ishvani Tzekes . . . . . . . . . . . . . . . 46
B20. Hidden Vaults. . . . . . . . . . . . . . . . . . . . . . . . 46
The King in Yellow . . . . . . . . . . . . . . . . . . . . . 47
Sidebar: To Read or Not to Read. . . . . . . . . . . . . . . 48
Conclusion . . . . . . . . . . . . . . . . . . . . . . . 48
Sidebar: Experience Points. . . . . . . . . . . . . . . . . . . 48
Chapter 3: Crescendo . . . . . . . . . . 49
Chapter Synopsis . . . . . . . . . . . . . . . . . . . 49
The Realm of the Ashen Lords . . . . . . . . 50
Sidebar: Nothing in Common. . . . . . . . . . . . . . . . .50
The Halls of the Dead . . . . . . . . . . . . . . 50
The Environment. . . . . . . . . . . . . . . . . . . 50
Area Descriptions . . . . . . . . . . . . . . . . . . . 51
1. Entrance from Tzekes Mansion . . . . . . . . . . . . . . . 51
2. Crypt Alcoves. . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
3. Preparation Chamber. . . . . . . . . . . . . . . . . . . . . . 51
4. Catacomb of the Third Circle. . . . . . . . . . . . . . . 53
iii
 5. Chamber of Meditation. . . . . . . . . . . . . . . . . . . . 53 Riya Tzekes . . . . . . . . . . . . . . . . . . . . . . . . 89
6. Crypt Alcoves & Double Doors . . . . . . . . . . . . . . 54 The King in Yellow Avatar . . . . . . . . . . . 90
7. The Hallway of Ascension. . . . . . . . . . . . . . . . . . 54 Sidebar: The King in Yellow Avatars. . . . . . . . . . . . 90
8. Catacomb of the Second Circle. . . . . . . . . . . . . . 55 The Princess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
9. Chamber of Records. . . . . . . . . . . . . . . . . . . . . . 55 The Empress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
10. Flooded Hall . . . . . . . . . . . . . . . . . . . . . . . . . . 57
11. Chamber of Expiation. . . . . . . . . . . . . . . . . . . . 57 Monsters. . . . . . . . . . . . . . . . . . . . 96
12. The Transcendent Hall . . . . . . . . . . . . . . . . . . . 58 Crazed Mob. . . . . . . . . . . . . . . . . . . . . . . . 96
13. The Path of Dishonor . . . . . . . . . . . . . . . . . . . . 60 Drowned Zombie . . . . . . . . . . . . . . . . . . . . 98
14. Room of the Final Mystery. . . . . . . . . . . . . . . . . 60 Enraged Horde . . . . . . . . . . . . . . . . . . . . . 99
15. Grand Doors . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
16. Tower of Trial. . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Immemoriabilis Society Agent . . . . . . . . . 100
17. Exit Hallway. . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Infected. . . . . . . . . . . . . . . . . . . . . . . . . . 101
Infected Template. . . . . . . . . . . . . . . . . . . . . . . . . . 101
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . 62
Infected. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Sidebar: Experience Points. . . . . . . . . . . . . . . . . . . 62
Infected Mastiff . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Chapter 4: The Grand Finale . . . . 63 Possessed Mob. . . . . . . . . . . . . . . . . . . . . 104
Chapter Synopsis . . . . . . . . . . . . . . . . . . . . 63 Obsessed Mob. . . . . . . . . . . . . . . . . . . . . 105
A Method to Their Madness . . . . . . . . . . . 63 Rotting Servitor. . . . . . . . . . . . . . . . . . . 106
The Final Challenge. . . . . . . . . . . . . . . . 64
Magic Items . . . . . . . . . . . . . . . . . 108
The Cradle of Myths. . . . . . . . . . . . . . . . 64 Canting Urn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Environmental Conditions. . . . . . . . . . . . . 65 Dimensional Chain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Floating Platforms . . . . . . . . . . . . . . . . . . 65 Quilll of Sumaris. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Storm of Rage . . . . . . . . . . . . . . . . . . . . . . 66 Sword of Unmaking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Sidebar: Further Adventures. . . . . . . . . . . . . . . . . . 67 The Ten Thousand Rod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Vampiric Psychic Crystal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Two Roads Diverged in a Yellow Wood. . . 68
Area Descriptions . . . . . . . . . . . . . . . . . . . 68 Spells. . . . . . . . . . . . . . . . . . . . . . . 111
1. Southern Entrance. . . . . . . . . . . . . . . . . . . . . . . 68 Nightmare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2. Back Wall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
3. The Standing Dead. . . . . . . . . . . . . . . . . . . . . . . 69
4. The Performer. . . . . . . . . . . . . . . . . . . . . . . . . . 70
5. The Bodyguard. . . . . . . . . . . . . . . . . . . . . . . . . . 70
6. Performance Field . . . . . . . . . . . . . . . . . . . . . . . 70
7. Seating Stands . . . . . . . . . . . . . . . . . . . . . . . . . . 70
8. Dual Thrones. . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
And So It Begins…. . . . . . . . . . . . . . . . . . . 71
Early Arrival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Later Arrival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Sidebar: The Final Conflict . . . . . . . . . . . . . . . . . . 73
Aftermath: Victory! . . . . . . . . . . . . . . . . . . . . . . . . 73
Aftermath: Defeat!. . . . . . . . . . . . . . . . . . . . . . . . . 74
Reducing the Hastur Track . . . . . . . . . . . 74
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . 74
Sidebar: Experience Points. . . . . . . . . . . . . . . . . . . 74
Non-Player Characters. . . . . . . . . 75
Adira, City Watch Lieutenant. . . . . . . . . . 75
Amadicia. . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Braiham Tzekes . . . . . . . . . . . . . . . . . . . . . 77
Eileen Lakshmi . . . . . . . . . . . . . . . . . . . . . 79
Errimac, Watch Captain. . . . . . . . . . . . . . 80
Father Emil Lukaris . . . . . . . . . . . . . . . . . 81
Gamina Goldenbrook. . . . . . . . . . . . . . . . . 83
Ishvani Tzekes . . . . . . . . . . . . . . . . . . . . . 84
Pallavi Ruza. . . . . . . . . . . . . . . . . . . . . . . . 87
Pallminya. . . . . . . . . . . . . . . . . . . . . . . . . . 88
iv
 Act III: Oratorio
A Cthulhu Mythos adventure for 4 to 5 characters of 8th–11th level

“We believe sanity to be a castle with walls that will the Tzekes family, Braiham, and the Mummers.
protect us. It isn’t. Sanity is a prison whose walls The PCs learned how the Mummers have been us-
blind us to the truth of our existence.” ing the catacombs as a convenient way to traverse the
–Durja Mallick, last prince of Tiarazan city without being observed. The PCs also confirmed
that most mansions in the Marble Way District have
“True artistry only blossoms within the realm of their own private catacomb entrances.
madness.” A local scholar, Damani Veers, reluctantly provid-
– Luchem Pentashar, playwright ed background information concerning the King in
Yellow and his eponymous play. The PCs also learned
Previously… that the last known surviving copy of the play resides
in the city. In all likelihood, this dangerous relic had
The murder of four individuals threatened the status
sparked most of the events that threatened Tiarazan.
quo of the city of Tiarazan. The Kommein and the
After discussing matters in greater, more informed
Tzekes, two powerful families and former allies, each
detail with the Immemorabilis Society and its leader,
lost their eldest child and blamed one another for it.
Pallavi Ruza, the PCs returned to convince Damani
The PCs started an investigation to learn the identity
Veers to give them a unique magic relic, the quill
of the murderer and their motivation. The evidence
of Sumaris. The quill may help them eradicate the
they collected indicated that a charismatic cult leader,
Yellow Sign, but it requires a rare, exotic ink—the
Molleus the Eye, had a hand in the murders. This
ichor of a servitor of the Outer Gods. By this time,
information prevented a war from erupting between
a mounting body of evidence pointed to the involve-
the two families but also pointed to the involvement
ment of Braiahm Tzekes, patriarch of the Tzekes fam-
of a strange and powerful supernatural entity.
ily, as somehow being involved with the Mummers or
The PCs encountered mobs of random people,
Molleus. Tzekes had, after all, been responsible for
violent and apparently under magical compulsion,
bringing the copy of The King in Yellow to Tiarazan.
chanting the name of Hastur. They became the tar-
Meanwhile, the possessed mobs had evolved and
gets of Molleus’s cult, the Mummers. The characters
grown in the threat they posed. Several of these
learned about the mysterious and pernicious Yellow
mobs sparked through the efforts of the Drunken
Sign and how its effects had something to do with
Crows, a visiting bard troupe with ties to the Mum-
forming the obsessed mobs. They also uncovered
mers. The Crows had put on a series of free street
the shadowy involvement of a dark entity, the King in
performances, after which they activated a new
Yellow. Through a concerted effort, Molleus and his
possessed mob by creating a “seed” individual—the
Mummers had spread the Yellow Sign’s influence,
person around whom the mob formed.
and now they mean to summon the King in Yellow.
After several brief, cryptic messages, the PCs
The characters tracked down the Mummers’ base
finally gained the opportunity to meet a mysterious
and attacked. They succeeded in killing or capturing
benefactor, the scholar Syren Nakash, who’d pro-
several cultists while rescuing the youngest Tzekes
vided them several leads in the past. Before the two
daughter. Some cultists escaped, including Molleus,
sides came to any agreement or sharing of informa-
but the cult lost its base of operations.
tion, a group of cultists and Tcho-Tcho interrupted
Despite the PCs’ victory, Molleus and the Mum-
the meeting. Unwilling to risk capture, Nakash fled
mers continued working toward an upcoming event.
into the catacombs. The PCs followed and, after a
This event, a large-scale performance of The King
dangerous encounter with mutants dwelling in the
in Yellow play, was set to coincide with the last day
catacombs, rescued Nakash and got the final pieces
of the Saint Caphias Festival. Before the PCs could
of information they needed, including the location of
intervene and stop the Mummers, they needed to find
the underground amphitheater known as the Sunken
clues to lead them to the ritual’s location, the Sunken
Cathedral.
Cathedral.
The PCs interrupted the play before the comple-
The PCs encountered a new player on the field: the
tion of its second and final act. During the desperate
Immemorabilis Society. The Society had been strug-
battle, the characters discovered that while Molleus
gling to stop the spread of the possessed mobs and
led the Mummers, the true mastermind behind ev-
put considerable effort into stamping out the Yellow
erything was the youngest Tzekes daughter, Ishvani.
Sign’s influence. After a rocky start, the PCs and the
Molleus met his end but Ishvani escaped. Also, this
Society formed an alliance of necessity. As part of
confrontation took place over a mere stage rehearsal
this, the characters learned a few tactics for prevent-
of the play, which meant Ishvani still planned to put
ing the formation of the possessed mobs. The Society
on one final, climactic performance.
believed in some connection between the patriarch of
Though the PCs stopped the ritual within the
1
Oratorio
 performance, they returned to the surface to find the
cult had nonetheless completed part of their sinister
plan. The full moon in the sky above revealed the
imprint of the Yellow Sign on its surface, prominently
displayed for all to see. Under its yellow light, mad-
ness and chaos had already begun to wash over parts
of the city.
This episode began mere moments after the end of
Act II. The PCs interrupted the schemes of Molleus
and Ishvani, but the worst is yet to come. The Tzekes
daughter means to unite with the King in Yellow and
use her newfound powers to transform Tiarazan. She
seeks to eradicate the city’s ancient, inviolate tradi-
tions and status quo and, in their place, create a city
of art, culture, learning, and creativity. While she may
hold such high ideals in mind, everything witnessed
to date suggests the King in Yellow has something far
more destructive and horrifying in mind for the city.
Adventure Synopsis
Act III begins in the wake of a victory against Molleus
and the Mummers. The PCs stopped the perfor-
mance of The King in Yellow and delivered a pun-
ishing blow to the cultists, but the escaped Ishvani
Tzekes continues to pursue her scheme to remake
the City of Tiarazan. Even worse, the cultists com-
pleted enough of their ritual such that the moon now
displays the Yellow Sign for all to see in the night sky.
Madness and chaos in the city threaten to reach a
fever pitch as more and more people fall victim to the
King in Yellow’s influence.
Almost immediately, the PCs face an apocalyptic
scene. A band of Society agents become surrounded
by a new, more dangerous type of mob and need
rescue. Not all proves hopeless, however. The Society
has created magic items capable of dissipating the
mobs: a series of special urns called canting urns.
The urns require precise placement, but when trig-
gered, they work as promised.
Syren Nakash provides the PCs with a lead
regarding Eileen Lakshmi, a former servant em-
ployed by the Tzekes family who may possess useful
information regarding Ishvani. Meeting with Lakshmi
requires the PCs to gain entry into the city’s pris-
on, the Tower of Castigation. Once the characters
succeed, they learn that Ishvani may have been the
one who murdered Ashkay Kommein and Anushka
Tzekes, her own sister. It seems that Ishvani acquired
her father’s copy of The King in Yellow and decided
to summon the King as part of her plan to reshape Ti-
arazan. Ishvani now intends to put on her final perfor-
mance at a little-known outdoor amphitheater known
as the Cradle of Myths. The location of this theater
remains a mystery, however—no one can recall ever
hearing of, let alone visiting such a place anywhere
near the city.
Although the Immemorabilis Society has had some
success in slowing down creation of new crazed
mobs, they’ve lost many agents and nearly exhaust-
2
Oratorio
ed their resources. Soon, they will be unable help
the PCs. They warn the PCs that if Ishvani and her
surviving Mummers summon the King in Yellow, he
could gain full control over all undead in the area,
including the Ten Thousand Honored Dead, the
undead defenders of Tiarazan.
With time running short, the PCs must accomplish
three important tasks. They must first acquire an
artifact, the Ten Thousand Rod, from the high priest
of the Temple of Irisia. With this rod, the characters
may be able to stop the King from controlling the
Honored Dead.
After that, the PCs must head to the Tzekes
mansion. They need to search Ishvani’s room and
the house for information as well as the catacomb
connection between the mansion and the Cradle of
Myths amphitheater. While there, they should do
everything possible to locate the copy of The King in
Yellow play, as it may provide clues helpful in com-
batting the avatar. Doom is coming for the PCs, the
city of Tiarazan, and perhaps the entire region should
Ishvani Tzekes unite with the King in Yellow.
Adventure Hooks
If you are playing Act III as a stand-alone adventure,
here are a few ways to pull the PCs into the story.
Where possible, each player should try to connect
their character to the locale and its ongoing narrative.
Here are a few examples to consider:
◊  A character belongs to or has a connection with a
major family in the city, such as the Kommein or
the Tzekes.
◊  An old friend or ally asks a PC for their help in un-
covering the strange bouts of madness and chaos
erupting throughout the city.
◊  One of the PCs experiences visions of a strange,
alien sigil hovering over the great city of Tiarazan.
This foretelling speaks of dark, evil times that may
begin in this city but will spread elsewhere unless
stopped.
◊  A patron and close comrade of a PC has gone
missing in Tiarazan. This ally’s last cryptic mes-
sage warned the PC of an ancient power being
summoned there and the need to stop it before it
threatened the entire region.
Since this adventure takes place within or beneath
the city of Tiarazan, it helps make the adventure
more interesting and meaningful if the PCs have con-
nections to the community. The PCs should feel an
investment in the city and its people and care what
happens there.
Friends, Allies, and Enemies
Part of being connected to the city and its people
involves making friends and enemies and establish-
ing sources of information. If the characters went
through Acts I and II, they probably gained some
friends and made some enemies. If the characters
didn’t go through the previous adventures, they need
some basic information to understand the situation
and where they might fit in. Here is a brief rundown
of the major groups of interest in Tiarazan.
◊  Kommein. This aristocratic family has all but
lost the twelfth (and lowest) seat on the Elector
Council. The Kommein holds honor and duty in
high regard, and they keep their word—a rare trait
in Tiarazanian politics. This family finds itself
isolated and without allies. The Kommein despise
anyone associated with the Tzekes family.
◊  Tzekes. This merchant family once served as fi-
nancial patron to the Kommein but recently ended
that alliance, further isolating the latter family.
The Tzekes want to give their patronage to a more
deserving and up-and-coming noble family such as
the Numari. The Tzekes are ambitious, cunning,
and resourceful. They switch sides whenever it
seems advantageous to do so. They do not ally
themselves with anyone friendly with the Kom-
mein.
◊  Numari. This noble family stands to gain the
twelfth seat on the Council at the expense of the
Kommein family. They’ve been making overtures
to the Tzekes family in the hope of gaining a new
patron. At the same time, their matriarch has
concerns about the Tzekes and seeks information
to validate an alliance before she makes such a
move.
◊  Factions. The city is filled with street gangs
known as factions. Most wealthy and influential
families support one or more of the factions and
use them to do their bidding—including engaging
in proxy fights against rival families. Most factions
also commit crimes to earn additional money.
Since different factions often oppose one another,
they almost never work with their rivals or ene-
mies except in the worst of circumstances
◊  City Watch. For the most part, members of the
City Watch are too beholden to the noble and mer-
cantile families to serve ordinary citizens or keep
the peace. The City Watch is usually best at arrest-
ing outsiders or foreigners, but otherwise they do
their best not to anger any of the major families
of the city. A few members of the Watch, Captain
Errimac and Lieutenant Adira in particular, can be
trusted and care to do their jobs.
◊  Clergy. The city serves as home to a multitude of
different faiths. The various religious institutions
generally avoid politics where they can, but even
they cannot entirely avoid involvement with the
noble and mercantile families. The faiths have
fallen into disarray lately and have become too
distracted to help the city or its citizens.
If the characters worked to establish good relation-
ships with individuals and groups, then they have
people to turn to for help and information. Some of
these relationships may involve actual friendship and
loyalty, while others are probably more transaction-
al—a favor for a favor.
If the PCs didn’t go through Act I or II, then they
don’t automatically have much, if any connection with
the groups described above. In this case, the GM
should offer a brief overview of the social and politi-
cal scene in the city and perhaps include a few brief
scenes involving the above groups. Having such allies
and resources can make all the difference between
success and failure, victory and madness.
NPCs Living and Dead
If players have participated in the previous acts of
this campaign-length adventure, they’ll have accumu-
lated an impressive list of known NPCs, ranging from
contacts to friends to enemies. Along the way, some
of these NPCs may have died or suffered some other
gruesome fate. The episodes in this act make some
assumptions as to which NPCs remain alive and
which have died—assumptions that may not hold true
for each group of players.
If the text calls for the appearance of an NPC who
is deceased or absent in the GM’s campaign, the GM
should substitute either an existing NPC or a new
one of their making to fill a similar role. For example,
if Captain Errimac of the City Watch died in a previ-
ous episode, the GM can promote Lieutenant Adira
to fill his position. The GM can also decide whether
to update the NPC’s stats or to “reskin” another
NPC’s stats to fit the new one.
Of the many NPCs encountered in these adven-
tures so far, only two must still be alive at this point
for plot reasons: Ishvani Tzekes and her father,
Braiham. Each of these two NPCs plays a prominent
role in these upcoming episodes. If the PCs killed
one or both in a previous act, the GM should conceive
some way to bring them back; Ishvani restored by the
King in Yellow, for instance, or a different, corrupted
version of Braiham Tzekes that has replaced him on
behalf of his own patron’s elder influence.
Connecting the Clues
As with previous installments of Have You Found It?,
this act involves searching for clues and gathering in-
formation in between roleplaying and combat scenes.
The clues allow the PCs to progress from scene to
scene and offer them a chance of to stop Ishvani
Tzekes from becoming one with the King in Yellow.
If the PCs overlook important information, draw the
wrong conclusions, or get sidetracked, then they may
find the adventure too challenging or, worse, confus-
ing and dull.
The GM should always keep their players in mind
when handing out clues and divvying up information.
Some groups excel at investigations and solving mys-
teries, while other groups may struggle. The GM’s
goal here is to provide an entertaining, engaging, and
tense adventure that challenges the characters and
3
Oratorio
 their players without overwhelming them or leaving
them in the dark. At times, the GM may need to pro-
vide additional hints or opportunities to gather clues
beyond those given in the text. Don’t let the pace drag
on and don’t let the players stay stuck for long—give
them a nudge or a hint in-game.
As an example, if the PCs struggle to understand
an event’s significance, the GM can have an NPC
friend or associate ask questions that hint at the
significance, prompting the PCs to consider perspec-
tives they might have overlooked or have forgotten
to investigate. The NPC doesn’t need to give out an-
swers but rather clarify things enough so the players
can reach the destination. Naturally inquisitive NPCs
like Captain Errimac of the City Watch, Pallavi Ruza
of the Immemorabilis Society, or the acolyte Pallmin-
ya are good options for helping the PCs out without
handing the answers out for free.
Unlike previous acts in this campaign-length
adventure, this act has fewer scenes the PCs can skip
or avoid. Events now approach the climax and the
characters need to gather every clue and bit of infor-
mation possible. They can’t afford to ignore any leads
or opportunities that may help them defeat Ishvani
Tzekes, the Mummers, and the King in Yellow. Thus,
it falls to the GM to encourage the players to pursue
the leads they’ve acquired, such as meeting with Ei-
leen Lakshmi or exchanging information with Pallavi
Ruza (both of which occur in Chapter 1).

Continuing the Hastur Track

As with the previous acts, the GM should keep the
Hastur Track on hand throughout the adventure.
The PCs should know by now the dangers involved
when they or anyone else repeats Hastur’s name.
Since each appearance of the King in Yellow’s avatar
is more powerful than the previous incarnation, the
characters should do everything in their power to
prevent another summoning. By this point in the ad-
venture, the next incarnation of the avatar is likely to
be an exceptionally dangerous and difficult challenge.
The avatar’s highest form, known as the Empress,
appears in the Appendix for this adventure.

4
Oratorio
Chapter 1: Descent into Chaos
A Cthulhu Mythos Adventure for 4 to 5 Characters of 8th level
Chapter Synopsis
The PCs return to the city streets to find chaos and
anarchy unleashed. The ominous Yellow Sign, seem-
ingly etched into the moon, illuminates Tiarazan in
its pallid glow. The obsessed mobs are springing
up in every neighborhood now. People are running
and scrambling all through the city, terrified, angry,
or caught in the grips of madness. Not far in the dis-
tance, the characters hear the now-familiar chanting
of an obsessed mob. If something doesn’t stop this
mob soon, its influence will expand and encompass
ever-larger groups of people.
When the PCs reach the site of the disturbance,
they find a desperate group of Immemorabilis Soci-
ety members trying to stop the largest mob seen to
date—a mob threatening to grow until it encompass-
es the entire city. The Society has developed a magi-
cal device to counteract the chanting and thus break
up the mobs, but now they need help placing devices
in the right places at the right time and then trigger-
ing them. The agents plead with the characters to
help them disperse the mobs before they grow too
massive to stop. After the PCs succeed, the Society
Descent into Chaos
leader asks the characters to meet with her in one
day to discuss strategy and to trade information. She
needs the extra time to gather the survivors of her
organization and assemble the information they’ve
collected over the past few days.
If the PCs wish, they can pursue a lead given to
them by Syren Nakash, who suggested they speak
with a former friend of Ishvani Tzekes by the name
of Eileen Lakshmi. To do so, however, the PCs must
find a way to enter the Tower of Castigation, where
Lakshmi is being held as a prisoner for crimes
against the city.
Once the characters reach Lakshmi, she agrees
to provide information in exchange for her freedom.
She provides useful information concerning Ishvani,
including the fact that her former friend possesses
and has read The King in Yellow play, which inspired
her to summon the King in her bid to remake the
city as a more egalitarian and open society. Lakshmi
informs the PCs that Ishvani likely was the murderer
responsible for the deaths of Ashkay Kommein and
Anushka Tzekes—the price for initiating contact with
the King. She encourages the PCs to go to the Tzekes
estate and search Ishvani’s room for clues to what
5
 she plans next. If they can find the copy of the play, it
may also provide clues on how to defeat the scheme.
If the performance down in the catacombs was mere-
ly a dress rehearsal, then Ishvani no doubt plans one
final performance to summon the King in Yellow’s
most powerful avatar.
Pallavi Ruza and the
surviving members of the
Immemorabilis Society
meet with the PCs for
one final strategy session
to decide their next step.
Thanks to information
gleaned from Dama-
ni Veers and Syren
Nakash, Ruza
believes Ish-
vani Tzekes
plans to
6
Descent into Chaos
Scene Order
The previous two acts of this adventure allowed
for flexibility as to the order of different scenes
within an episode. In this act, however, most scenes
should take place in the order presented. At a
minimum, Scene 1 should occur first and Scene
5 should come at the end of the episode. Scene
3 needs to occur before Scene 4 since the latter
scene requires information the PCs acquire in the
former. The GM should make whatever adjustments
are necessary to best suit the narrative and the
group’s preferences.
give one final performance of The King in Yellow.
Once she completes this grand performance, she will
become one with the King in Yellow and gain tremen-
dous power. Two vital questions remain unanswered:
when is this performance and where?
Finally, between clues and hints, both the PCs and
the Society have gathered, everything points to the
ability of the King in Yellow’s ability to command all
undead within his area of influence. If this is true,
the coming of the King promises doom for Tiarazan.
The catacombs beneath the city are filled with ten
thousand undead, known as the Honored Dead—the
ultimate defenders of Tiarazan. Should the King be
able to control this army, he may well prove unstop-
pable, and his power could threaten a far larger
area than the city itself.
The only hope the city has in the event
Ishvani summons the King in Yellow is
to acquire the Ten Thousand Rod. The
person in possession of this ancient relic
may be able to keep control of the undead
despite the King’s influence. Unfortunately,
the rod is in the possession of the high
priest of the Temple of Irisia and he will
not willingly part with it. Worse, from all
accounts, the high priest has succumbed
to the same madness now gripping the
rest of Tiarazan.
The PCs must make a desperate for-
ay to the Temple of Irisia to acquire, one
way or another, the Ten Thousand Rod.
Finally, as darkness approaches and
the city once again erupts in carnage,
madness, and chaos, the PCs must
travel to the Tzekes estate in the hope
of finding the final clues as to where
Ishvani will conduct her final perfor-
mance of The King in Yellow.
Standing in the party’s way is a city
filled with frightened people and too
many of the mobs to count. With time
running out and the coming of the King
in Yellow fast approaching, the characters
cannot afford any further delays.
Scene 1. Mob Violence
This scene occurs moments after the PCs exit the
catacombs and return to the surface. They’ve seen
the Yellow Sign shining down from the face of the
moon, and now they hear shouts, screams, and—
worst of all—chants echoing through the nearby
streets. Somewhere close, another obsessed mob has
come to life. Read or paraphrase the following:
The familiar madness-inducing chant of an
obsessed mob echoes through the street. By the
sounds of it, a new mob is forming. With so many
people flooding the streets, such a mob could
quickly grow out of control and consume the
entire city.
Before you can decide your next move, a trio
of men limps in your direction, obviously fleeing
the mob. Two of them, splashed with fresh blood,
support their third comrade. You recognize them
as agents of the Immemorabilis Society. They
stop, set their wounded comrade down for a mo-
ment, and fight to catch their breath.
One of the agents recognizes you in return. He
shakes his head in disbelief. “We thought we had
things under control and the new devices would
stop these mobs. They came at us so fast, so
angry…” He beats the sides of his head with his
fists. “That damned chanting gets to you.”
His comrade points back the way they came.
“The rest of our group is back there, surround-
ed. If they don’t trigger the urns soon, they’re
doomed”
The 3 Immemorabilis Society agents (page 100)
accept help in bandaging their wounds, especially the
comrade they supported between them, and spend
what little energy they have begging the PCs to aid
their comrades. They offer some sort of reward if the
PCs seem about to leave.
If the PCs ask them about the “devices” they men-
tioned, read or paraphrase the following:
“Mistress Ruza figured a way to break up one of
those crazed mobs without hurting anyone. She
created these clay urns—she calls them ‘canting
urns’—covered in runes and filled with some sort
of liquid—maybe holy water or something. We
needed to place one urn at each of the compass
points and then speak the command word. The
urns explode and break up the mob… knocks
people out of the damned trance.”
His friend gives a tired nod of agreement. “We
got separated and dropped our urn before we
could place it. The mob surrounded the other
agents before they could place theirs.”
The agents explain where they dropped their canting
urn (page 108), then they describe the situation: the
other agents have the remaining three urns but now
stand surrounded by the mob and unable to place the
Descent into Chaos
devices in the proper locations. All four urns must
be placed at the cardinal compass points around the
mob, and each urn must lie no more than 300 feet
from one another to work. Once the PCs place all
four urns correctly, they only need to speak the com-
mand word to trigger them. Theoretically, this will
break up the obsessed mob, no matter how big it has
become. Thus, the PCs must locate the dropped urn,
acquire the other three, place all four in their proper
alignment, and say the command word.
When the PCs reach the bazaar, read or para-
phrase the following:
A panoramic, apocalyptic hellscape unfolds before
you. A zealous mob, far larger than any you’ve
encountered yet, parades around and through
the market square. Their mesmerizing, sing-
song chant fills the air with its pernicious magic.
Hundreds of civilians, their faces pale with fear,
run in one direction or another as they try to flee
the mob. A cluster of Society agents holds their
ground at the center of the square. They resemble
a tiny island of calm surrounded by an ocean of
madness.
If nothing stops the mobs from growing—and
soon—their madness could wash over the entire
city in a matter of hours.
Once the PCs see the horrific, chaotic scene laid out
before them, they must each succeed on a DC 15
Wisdom saving throw or gain a level of dread, which
lasts until they dissipate the crazed mob with the
canting urns. If they don’t use the urns successfully,
the level of dread lasts until they complete a long rest.
In addition, another group of Society agents placed
their urn at the north location already. The PCs must
find the urn the agents dropped and place it (it is
closest to the south compass point) and then find
their way to the other agents to acquire the remain-
ing two urns. From there, the PCs need to position
the remaining two urns at the west and east compass
points.
Although this encounter involves combat, if the
PCs attempt to solve the problem through force
alone, they will lose. They likely cannot kill members
of the obsessed mob faster than the mob gains new
members from the surrounding bystanders and
crowds, and even if they could, leaving the plaza
full of the bodies of innocent people could hardly be
called a success. The existing mob grows with each
passing round and becomes increasingly dangerous.
The Approach. The PCs can accomplish this task
in any order they choose. This encounter doesn’t
come with a specific map; the GM should sketch out
a simple map featuring a large, open bazaar square
at the center surrounded by buildings. Because of the
size of the mob, the number of bystanders nearby,
and the size of the locale, this encounter is best run
with “theater of the mind” as opposed to a battle map
and miniatures.
7
 Once the PCs have a moment to take in the scene
before them and draw up a quick plan, this encounter
grows progressively more difficult. The major threat
on the scene is a crazed mob. At the start of each
round after the first of this encounter, the GM should
roll a d20. On a roll of 1-9, the crazed mob remains
the size it was on the previous round. On a roll of
11-20, however, the obsessed mob gains addition-
al numbers and grows (see the description of the
crazed mob in the Appendix).
Creatures. At the end of every two rounds, there’s
a 50% chance that a new possessed mob (page
104) forms somewhere within 100 feet of the crazed
mob. This smaller mob actively pursues and attacks
the PCs and the Society agents to the best of its
ability, almost as if being guided by an unseen hand.
Individual possessed mobs such as this cooperate in
chasing and attacking targets with special focus on
individuals carrying one of the canting urns.
◊  The Society Agents. A cluster of eight Immemo-
rabilis Society agents (page 100) is somewhere
in the market square, surrounded or nearly
surrounded by the growing mob. The agents still
have two of the canting urns with them, plus a
8
Descent into Chaos
spare. Although the mob isn’t specifically targeting
the agents, they do attack anyone they encounter
who isn’t part of their mob. The agents have so
far failed to break out of the cordon and have
already lost six members on these attempts (four
dead, two now part of the mob). The urns must be
placed around the entire mob, not just a portion of
it, to be truly effective.
When the PCs reach the agents, the agents
recognize them from previous encounters and
meetings. The de facto leader of the agents,
Zacharus, is reluctant to surrender the urns to the
PCs and requires some convincing. He still holds
out hope that he and his men can accomplish the
mission themselves.
The PCs can ask the surviving agents to assist
them. They may, for example, seek to use the
agents as a diversion for the mob or as a decoy,
or they may simply want more numbers to break
through the mob. The characters can use what-
ever means they prefer to convince the agents to
help. A successful DC 17 Charisma check (Intimi-
dation or Persuasion) suffices, although the agents
refuse any orders that are obviously doomed.
◊  The mob. A crazed mob (page 96) marches
through and around the market square. Its prima-
ry focus is on “recruiting” new members to grow
its numbers through its Mesmerizing Chant pow-
er. If the mob encounters the PCs or the Society
agents, it attacks them but otherwise doesn’t seek
them out.
◊  Fragile urns. The urns themselves are relatively
fragile (AC 10, hit points 20) and must succeed
on a DC 10 saving throw (+2 modifier) if struck,
dropped, or otherwise damaged, to avoid break-
ing. The mob does not interact with the urns in
any way; neither to break them nor to try and keep
the PCs from acquiring them.
◊  Urn #1 (set at the north compass point). This
urn, set at the north compass point, is on the roof-
top of a two-story building overlooking the market
square. Since the obsessed mob doesn’t tend to
travel indoors or use stairs, this urn is relatively
safe. The GM can, if they want to add further
complications, place this urn in some sort of peril
(perhaps some thieves looking to steal the urn in
the hope that it’s worth something), but the PCs
probably have enough to challenge them already.
◊  Urn #2 (dropped near the south compass point).
The trio of agents encountered at the start of this
scene came under attack while attempting to
place their canting urn at the south compass point.
It remains on the ground where they dropped it.
The three agents can provide a general idea where
the PCs should look for the urn, but locating its
exact spot requires a thorough search of the area.
Locating the urn requires a successful DC 25 Wis-
dom (Perception) check or a DC 20 Intelligence
(Investigation) check; any number of PCs can take
part in the search. Each additional round after
the first spent searching lowers this DC by 2, to a
minimum of DC 10. Once the party succeeds on
this roll, they locate the urn.
During this search, the PCs risk attracting the
attention of the crazed mob or, more likely, one of
the possessed mobs forming every other round.
If a character finds the canting urn and a mob is
within 30 feet, the mob moves at full speed toward
that PC and continues the pursuit as long as pos-
sible or until they catch up.
◊  Urns #3 and #4 (and #5). As mentioned above,
the Society agents clustered near the middle of
the square still have three urns with them—they
were surrounded by the mob before they could
place the urns. One urn needs to be placed at
the west compass point and the other at the east
point, with each no farther than 300 feet from the
other urns. When the urns detonate, they affect all
creatures within the square area of effect between
them—they do not affect any creature outside of
this area.
Thus, the urns must all be placed such that the
entire mob is inside their perimeter.
Descent into Chaos
To acquire these urns, the PCs must go to the
Society agents at the center of the market square.
They must convince the squad leader, Zacharus,
to not only turn over the canting urns to them,
but also share the command word. This requires
a successful DC 20 Charisma (Persuasion) or
DC 25 Charisma (Intimidation) check before he
entrusts the PCs with the urns and their secret;
the PCs have advantage on these checks if they
protected the Society agents or did at least 50
damage to one of the mobs, proving their mettle.
◊  Placing the Urns. In order to activate them,
the PCs must place the urns in the designated
locations. How they accomplish this task is up to
them; they can do them one after another or divide
into two teams and make the attempt at the same
time. In both cases, placing the urns requires the
characters to traverse to the west end and the east
end of the market square, which means dealing
with the mobs.
Development. The GM should feel free to throw
in additional factors during this encounter to keep
things exciting, and to encourage the unexpected.
Here are a few suggestions:
◊  Dying words. The canting urns require a com-
mand word to detonate. Among the Society agents
on scene, only their leader, Zacharus, knows the
word. To add some tension to the scene, the PCs
learn they need the command word that only
Zacharus has, at which point he suffers a mortal
wound—if he dies without divulging the word, all
hope for surviving dies with him. The PCs need
to take steps to save him from dying or buy him
enough time to share the word, such as DC 15
Wisdom (Medicine) check with a healer’s kit, a
curative spell, etc. The GM can decide if any such
measures actually save Zacharus or if such mea-
sures only give him a few seconds to croak out the
command word before he dies.
◊  The City Watch arrives. Captain Errimac (page
80) or Lieutenant Adira (page 75) lead a squad
of 10 City Watch (use the guard statistics) onto
the scene. Depending on where they arrive on the
scene and where the PCs are, the squad may be
able to aid the party or the squad may need saving
from one of the mobs.
◊  Shattered urn. As mentioned, the surviving Soci-
ety agents still have three canting urns with them.
As far as they know, at least one of the other urns
has been lost or destroyed. If one of these three
urns is destroyed, it further ratchets up the ten-
sion of the encounter—the PCs have no remaining
room for mistakes and no spare urns available. If
an urn shatters or is otherwise cracked, its magic
dissipates and it cannot be repaired. If necessary,
the PCs can still make the effect work with only
three urns placed, albeit with a smaller area of
effect (three urns form a triangle rather than a
square).
9

A Wounded Party
Since this scene occurs immediately following the
climactic scene of Act II, there’s a strong chance
the PCs are low on resources such as hit points,
healing, spell slots, etc. The players no doubt
want to rest their characters and recuperate these
resources before tackling another encounter.
Indeed, avoiding an encounter likely seems both
wise and prudent at this stage. The GM has a few
options for handling this dilemma.
First, the GM can allow the PCs the freedom to
enter this encounter or avoid it as they choose. The
GM should, however, offer hints to suggest dire
future consequences if an obsessed mob spreads
its influence unchecked. The PCs might elude the
encounter now but face worse problems later as a
result. If the PCs still elect to avoid this encounter,
the GM needs to let natural consequences occur.
Second, the GM can force the issue by having
this scene take place immediately near the
characters. This doesn’t mean the characters must
go through the encounter from start to finish; they
may still choose to flee. By witnessing the event
firsthand, however, they gain a better idea of the
consequences they’ll face later if they fail to act,
including enormous obsessed mobs roaming the
city out of control and the death of many of the
PCs’ friends and allies in the process.
Third, the GM can allow the PCs to “rub some
dirt in it” and recoup some of their expended
resources as if they’d completed a short rest. The
characters have enough time to spend Hit Dice to
regain hit points and they regain any class feature
that returns after a short rest. The GM may even
bend the rules somewhat and allow the characters
to restore spell slots or other class features that
normally require a long rest to regain.
The poorest option is to railroad the PCs and
force them into the encounter no matter their
choices or actions. This removes player agency
and can lead to players growing frustrated or even
disinterested in the adventure. If the PCs avoid this
encounter even knowing the consequences, the
GM should allow it.
If only two or fewer urns survive, however, deto-
nating them has minimal benefit—they only affect
creatures within 30 feet of them. If this occurs, the
city’s defenders mount a vigorous effort to contain
and eliminate all rioters. Numerous squads of
City Watch and hundreds of militia form a cordon
around the area. They then unleash volley after
volley of arrows into the square, firing indiscrim-
inately until nothing moves inside the area and
thousands of arrows lie embedded in a sea of
corpses. This slaughter defeats the mobs but also
kills hundreds of innocent civilians. Once the PCs
no longer have any chance to activate the urns, the
10
Descent into Chaos
GM should provide clear indication the party must
choose to either flee the area or perish in a hail of
arrows; escape isn’t difficult for small groups while
the soldiers establish their perimeter.
◊  Torrential rain. During the scene, a heavy down-
pour falls over the air. This has three effects. First,
it reduces visibility for everyone on the field. Ev-
erything on the field is lightly obscured. Creatures
in the area suffer disadvantage on Wisdom (Per-
ception) checks relying on sight or sound. Second,
it extinguishes any torches or small fires in the
vicinity. Third, it turns areas of the ground into
muddy, swampy quagmires (treat these patches as
difficult terrain).
◊  Endangered innocents. The PCs stumble across
one or two ordinary citizens caught in the middle
of the chaos. They aren’t part of any mob and they
only care about escaping alive and unharmed.
When the PCs see these civilians, so too does one
of the possessed mobs. The characters may need
to conduct an impromptu rescue to save these
people. In return, the citizens know where to find
the missing canting urn, potentially saving the
PCs time and trouble.
◊  Horse on the loose. Some merchant or noble
got separated from their horse and now it runs
amok throughout the square, trying to avoid the
mob and get to safety. A PC can calm the steed
down with a successful DC 16 Wisdom (Animal
Handling) check, after which it might prove useful
in getting from place to place quickly.
◊  Crates, barrels, carts, and tents. The GM should
populate the battle scene with plenty of items and
cover for clever characters to use. Since this area
was, until recently, a market square, it is crowded
with crates, boxes, barrels, shelves, tents, tables,
chairs, and so forth. The GM simply needs to de-
scribe these items littering the landscape and let
the players decide how to use them. In any given
part of the encounter, if a player asks if anything
of these items are nearby and handy, the answer
should usually be “yes.” For example, the PCs
can topple a pyramid stack of barrels off its pallet,
causing them to tumble into a mob, scattering or
slowing them. These items might also assist in
stealthy PCs avoiding notice by the mob.
With the canting urns in place forming a perimeter
around the mobs, any PC or Society agent within
the area of effect can speak the command word and
trigger the detonations. Read or paraphrase the
following:
After a moment or two of delay, the four urns
explode at the same time. The detonations are
visible from the cloud of sparks and smoke they
shoot out, but the explosions are inaudible due to
the screaming, shouting, and chanting of hun-
dreds of people.
 The members of the mobs clutch their ears
and fall to their knees, faces twisted in grimaces
of pain. In the span of a few heartbeats, every
one of the crazed mobs turns into a collection of
confused, frightened individuals.
Interlude. The Dead Shall Punish the
Wicked
This scene can take place in almost any part of the
city, and it can occur at any point after Scene 1 but
before Scene 5. The GM can introduce this scene by
one of several means, whichever makes the best
sense with what the PCs are doing and where
they are in the city.
◊  Gamina Goldenbrook, a member
of the Drunken Crows bardic
troupe the PCs encoun-
tered in Act II, runs up to
the PCs and begs them
to help her save her
friends.
◊  A group of City Watch rec-
ognizes the PCs and ask for
their help in dealing with
an unusual situation.
◊  The PCs encounter
the scene on their own
while going from place
to place.
◊  Branna, the young woman
the PCs first met in Act I, re-
ports an unusual disturbance
to the party.
Regardless of who brings
the situation to the PCs’
attention, the scene plays
out along similar lines.
Read this text out loud:
A group of shroud-wrapped
undead—some of the city’s
legendary undead defenders—sham-
ble out from a nearby catacomb entrance.
They converge on four terrified people with
obvious malicious intent. Clusters of bystanders
retreat from the doomed individuals but watch in
mesmerized anticipation. You recognize the tar-
gets of this impending attack as members of the
Drunken Crows troupe—the ones who’ve been
helping the Mummers.
Creatures. The cluster of undead includes three
mummies and four zombies. They belong to the
city’s defenders known as the Honored Dead—part
of a veritable army of undead lying in the catacombs,
awaiting the summons to massacre any foreign ene-
mies threatening their city.
Descent into Chaos
The undead have determined that members of the
Drunken Crows troupe represent a threat to the city
and must be eliminated (the Honored Dead do not
hunt down citizens of the city, instead focusing on
threats posed by foreign agents).
For this scene, the Drunken Crows involved
include Gamina Goldenbrook (page 83), Joorma
Quickhands (HYFI Book 2, Page 68), and two
bandits (their names are Hareth and Anselm). (If
Gamina and/or Joorma died in Act II, replace them
with other names).
Development. The PCs have three choices here.
First, they can stand by and allow the Honored Dead
to perform their duty and kill their prey, perhaps
taking a measure of satisfaction in the
delivery of such harsh justice. Second,
they can simply leave and let
events unfold without them being
witnesses. Finally, they can
intervene and attempt to save
the Crows in some way.
If the PCs help the
Drunken Crows and intervene
without attacking the undead,
they face no repercussions—the
undead do not attack them. If,
however, the PCs attack the undead,
then the undead can attack
them in return. Under ordinary
circumstances, this would mark
the PCs as enemies of the city
(as far as the Honored Dead are
concerned). Given how important
the characters have become to Ti-
arazan, however one of the party’s allies
or friends (such as Errimac) intervenes
by naming them as citizens—the Honored
Dead do not attack citizens.
The locals know better than to get in the way
of the Honored Dead; they aren’t afraid of the
undead, but they also stay clear of them
when the undead leave their cata-
combs. At the same time, most local
citizens believe that anyone targeted
by the Honored Dead deserves their
fate—anyone interfering with this justice
is no friend of Tiarazan.
Investigation. Throughout this scene,
Gamina Goldenbrook pleads with the PCs to save
her and her associates. She promises to provide
them with important information they need to deal
with the surviving Mummers and their next scheme.
Whether the PCs decide to help remains their
choice; if they save Goldenbrook and her friends,
she provides the promised information. Read or
paraphrase the following:
“A deal’s a deal; me and my Crows don’t owe the
Mummers or their ilk anything after they betrayed
us. We’re leaving this city fast as we can.”
11
 “Before things fell apart, Molleus and the
aristo, Ishvani, had plans for one grand, final
performance of that ridiculous play. From what
I’ve heard, you and yours busted up their stage re-
hearsal, but you haven’t beaten them yet. In three
days, this performance of theirs summons the
King in Yellow or whatever it’s called. My advice?
Stop it before that happens.”
The PCs have a brief few moments of time before
a squad of the City Watch arrives to arrest Golden-
brook and her allies. The GM should allow the char-
acters to ask a few questions before this happens.
Goldenbrook provides the following bits of informa-
tion without hesitation or evasiveness—she
wants nothing more to do with the Mum-
mers, Ishvani, or this city.
◊  Isvhani’s next performance
takes place in an old theater
of some sort, called “The
Cradle of Myths.” She
doesn’t know its location
but it isn’t a widely known
place.
◊  Since the location
remains a secret, Golden-
brook doesn’t think more
than a handful of people
received an invitation. She
expects the last surviving
Mummers to attend but
otherwise expects a small
crowd.
◊  Goldenbrook hints at a
split between her Drunken
Crows and the Mummers.
Thus, she doesn’t know what
Ishvani hopes to accomplish
with this final performance.
Goldenbrook does reveal, however,
that Ishvani has something in mind for the
“Honored Dead” of Tiarazan. Somehow, the
performance gives her control over the undead
dwelling in the catacombs.
◊  Goldenbrook also answers what questions the
PCs ask to the best of her ability. Here are a cou-
ple possible questions and her responses;
»  What happened between the Crows and the
Mummers to cause this split between them?
“I’m all for changing this city and burning down
the status quo, but Ishvani and her crew never
saw us as partners or equals. I figured that out
when one of those mobs grabbed several of my
Crows and tore them limb from limb. That sort
of thing changes your perspective about your
so-called allies.”
»  What do you know about the symbol on the
moon? “They call it ‘the Yellow Sign’. I know it
12
Descent into Chaos
makes people go mad, and I know it heralds the
coming of this King in Yellow. Maybe if you stop
Ishvani from completing her ritual, the sign
vanishes.”
Scene 2. The Tower of Castigation
When the PCs gained information from Syren Na-
kash in Act II, he suggested they speak to a woman
by the name of Eileen Lakshmi. This woman was
once a beloved servant in the Tzekes household
and close to the sisters Anushka and Ishvani. About
two months ago, the Tzekes had a falling out with
their servant. They had her arrested; put on
trial; and convicted of theft, giving false
witness, and disobeying the commands of
her mistress.
If anyone might prove willing to di-
vulge Tzekes family secrets, it would
be Lakshmi. Unfortunately, the
woman remains a prisoner in the
Tower of Castigation. The PCs
must find a way into the tower
and convince Lakshmi to answer
their questions.
The characters can enter the
tower through stealth and subter-
fuge, or they can convince one of
their contacts or allies to assist them.
Good candidates for the latter course
include Captain Errimac or Lieutenant
Adira, especially given their connection
to law enforcement. Other options in-
clude asking for a favor from the Numari
family (assuming the PCs have dealt
with them in previous adventures). In each
case, the PCs must convince their con-
tact why they should stick their neck out
to help the party, and how doing so
benefits them.
The PCs could also ask this
favor of from an ally or acquain-
tance. See A Friendly Favor (page
15) for details.
Stealth and Subterfuge
In order for the PCs to make it through the tower
to meet with Lakshmi, they must deal with four
guard checkpoints standing in their way. Once they
pass all four checkpoints, the PCs gain the opportuni-
ty to interview Lakshmi. These checkpoints repre-
sent role-playing and skill challenges, not combat
challenges.
Each checkpoint requires a different technique for
handling the guards; some require bluff and bluster,
while others call for a bribe or a bit of intimidation.
Each time the characters succeed at a challenge, they
win past that checkpoint and proceed to the next.
If they fail, the PCs suffer penalties hindering their
progress or sending them back to a previous check-
point to try again.
When the characters approach a checkpoint, each
PC can attempt a DC 15 Wisdom (Insight) check to
identify the best way to handle the guards. In doing
so, the characters observe body language, catch snip-
pets of conversation, and note how the guards deal
with other visitors and each other, thus gaining an un-
derstanding of what challenges they face. If, however,
even one character succeeds on the Insight check,
they learn which skills might work best and which
won’t (listed under “Contraindication” for each check-
point). If any character succeeds on the Insight check
by 5 or more, they gain a benefit to their interactions
as described in the checkpoint’s text. Finally, if none
of the characters succeed on the Insight check, they
suffer a penalty on their interactions as described in
the text.
Prior Preparations. If the PCs plan their entry
into the tower, they might take the time and effort
to prepare a set of forged papers. This requires one
hour of time and a successful DC 13 check with a
forgery kit. The player can choose either Dexterity
or Intelligence for the ability involved. Assuming the
forgery attempt succeeds, the documents provide
a different benefit at each of the checkpoints as
described below.
Entry Methods. The GM should ask how the PCs
plan to enter the tower. If they enter through the front
door on the ground floor, they need to work their way
through all four checkpoints.
The characters may opt for a less mundane meth-
od of entry. The tower has normal-sized windows on
its first three floors, which include the first check-
point. Beyond this, the windows are too small for
even a Small creature to squeeze through. If the PCs
wish to scale the tower and enter on the third floor,
they can do so and skip Checkpoint #1. To accom-
plish this, each character must succeed on a DC 15
Strength (Athletics) check to scale the tower.
Should the PCs choose to fly to the top of the
tower and enter from there, they can avoid three of
the four checkpoints. They must still pass through
Checkpoint #4 to gain access to Lakshmi.
Magic. Certain enchantment spells such as charm
person or friends might help the PCs through a
checkpoint in the short-term. In the case of a spell
that charms a creature, the subject usually realizes
they were charmed and by whom when the spell
ends. Guards view any attempt to use magic against
them as an attack and act as if the PCs had attacked
with weapons. A spell granting bonuses to Charisma
checks (such as enhance ability) provides a better,
risk-free option.
Combat. When the PCs first enter the tower, the
GM should describe how they see numerous alert
guards at various places, including the first check-
point on the ground floor. If necessary, the GM should
make it clear that starting a fight in the tower only
Descent into Chaos
results in an end to the adventure. Even if the PCs
defeat an entire tower full of guards, they’ve earned
themselves the title of enemies of the city, which
effectively prevents them from completing their
mission.
If the PCs insist on attacking guards, they face the
two guards at whichever checkpoint they’re at. Once
fighting breaks out, 1d4 guards and 1d2 veterans
led by a knight arrive as reinforcements every 1d6
rounds. Within 10 minutes of the start combat, a
band consisting of four knights, eight veterans, and
two mages enters the tower in pursuit of the intrud-
ers. The guards offer no surrender and accept none.
Even should the PCs break Lakshmi free and
escape the tower, the city declares them enemies.
The PCs can expect no help from citizens including
Pallavi Ruza, Captain Errimac, Lieutenant Adira, or
Pallminya. For all purposes, the PCs have failed the
adventure.
Checkpoint #1: Baffle them with bull
A successful DC 15 Wisdom (Insight) check deter-
mines these guards are not the brightest or the most
motivated, and the party gains advantage on the
first Charisma check they make in this challenge.
The best way to succeed here involves the PCs fast-
talking their way through the guards using Charisma
(Deception) and (Persuasion) checks. If any character
succeeds on this check by 5 or more, the party gains
advantage to their first two Charisma checks for this
challenge.
If the characters fail all their attempted Insight
checks, the party suffers disadvantage on their first
attempted Charisma check for this challenge.
Contraindicated: Located on the ground floor, this
checkpoint is too busy for the guards to accept bribes
without being noticed. Any attempt to bribe them
causes the party to fail this challenge.
Challenge: The party needs to make three suc-
cessful DC 12 Charisma checks before they fail two
checks.
If the PCs present forged authorization papers (see
Preparation, above), this counts as one successful
Charisma check.
Optional: The GM can also allow a character to
replace one of the Charisma checks with a DC 13
Intelligence (History) check. The character launches
into a long-winded, pedantic, but official-sounding
explanation of why the characters are there, what
lineage they boast, or why they have the authority to
pass. A success in this check counts as one success-
ful Charisma check.
Failure: If the characters gain three failures before
two successes, they cannot progress past this check-
point. They can make another attempt in four hours
after guard shift change.
Success: The party proceeds to Checkpoint #2.
13
 Checkpoint #2: Bribery is the best policy
A successful DC 15 Wisdom (Insight) check clues the
characters in to the need to bribe their way through
this checkpoint. First, however, they must find a
method to offer a bribe in such a way that it doesn’t
overtly sound like a bribe (after all, guards have stan-
dards, too). Making a subtle bribe works best with a
Charisma (Persuasion) check.
In addition, when a PC succeeds on the Insight
check, they estimate a reasonable bribe in the range
of 50 to 75 gp to each of the two guards.
If a PC succeeds on their Insight check by 5 or
more, they correctly estimate a reasonable bribe at
50 gp per guard.
If the characters fail all their attempted Insight
checks, they falsely gauge a reasonable bribe in the
range of at least 100 gp per guard.
Contraindicated: These guards spend enough
of their time around criminals that they are good at
sniffing out lies. Any Charisma (Deception) check on
disadvantage.
Challenge: The party needs to make two success-
ful DC 12 Charisma (Persuasion) checks before
they fail two checks. If they succeed, they then must
also pay each guard a minimum 50 gp bribe. If the
PCs offer an amount less than this, the PCs fail this
challenge.
If the PCs present forged authorization papers (see
Preparation, above), this counts as one successful
Charisma check.
Optional: With the GM’s permission, a character
can substitute a DC 14 Charisma (Performance)
check for one of the Persuasion checks. Basically,
the PC tells a good story that puts the City Watch
in a favorable light or describes an incident where
the character suffered at the hands of some godless
criminal.
Failure: If the characters suffer two failures before
two successes, the guards become angered at such
poorly disguised bribes. The amount of bribe per
guard increases to 150 gp apiece, but first the PCs
must redo the challenge (see above).
If the characters fail the challenge a second time,
they cannot progress past this checkpoint. They can
make another attempt in four hours following guard
shift change.
Success: The party proceeds to Checkpoint #3.
Checkpoint #3: I Demand to Speak to
Your Supervisor
At this checkpoint, if any PC succeeds on a DC 15
Wisdom (Insight) check, they recognize the guards
here respond to authority above all, which makes
Charisma (Deception) and (Intimidation) the best
choices. If the characters succeed on this Insight
check by 5 or more, the party gains advantage on
their first two Charisma checks for this challenge.
If the characters fail all their attempted Insight
checks, the party suffers disadvantage on their first
14
Descent into Chaos
Charisma check for this challenge.
Contraindicated: These guards were selected
because they’ve proven resistant to corruption. Any
attempt to offer or even suggest a bribe counts as one
failed Charisma check for this challenge.
Challenge: The party needs to make three suc-
cessful DC 13 Charisma checks before they fail two
checks.
If the PCs present forged papers, they can either
gain one automatic success on a Charisma check or
remove one failed check for this challenge.
Failure: If the characters suffer two failures
before three successes, they cannot progress past
this checkpoint. They are forced to leave and cannot
make another attempt until after four hours when the
guards undergo shift change.
Success: The party proceeds to Checkpoint #4.
Checkpoint #4: Sneaky Weasels,
Charming Weasels
At this, the final checkpoint, if the PCs make a DC 15
Wisdom (Insight) check, they discern these guards
cannot be bribed, and they are also difficult to intim-
idate. The characters identify the two routes most
likely to succeed: use stealth to sneak past the guards
(their attention tends to wander since they have less
to do) or use Charisma checks to bluff the guards into
allowing the party to pass. If any character makes
their Insight check by 5 or more, the party gains ad-
vantage on the first check they make at this station.
If the characters fail all their attempted Insight
checks, the party suffers disadvantage on their first
two Charisma checks for this challenge.
Contraindicated: Any attempt to bribe these
guards results in automatic failure of one Charisma
check at this station. In addition, all Charisma (Intim-
idation) checks suffer disadvantage here.
Challenge: If the PCs attempt to sneak past the
guards, the party uses the character with the highest
Dexterity (Stealth) bonus to make the check. This
PC must succeed on two DC 15 checks before they
accumulate two failures. If the party stages a suitable
diversion (such as with a magic mouth or even by
means of prestidigitation), they gain advantage on
one Stealth check.
Alternatively, the PCs can attempt to use Charisma
skills to get past the station. They must succeed on
three DC 14 Charisma checks before they accumu-
late three failures. They can use any Charisma check
they wish, but Intimidation suffers disadvantage.
Failure: If the PCs rack up two failures before
achieving enough successes while using Stealth, they
are escorted from the tower. The DC of all future
checks described above for all four checkpoints
increase by 2 if and when the PCs make another at-
tempt. If they fail to complete this second go-through
at any checkpoint, the tower guards arrest them, toss
them into a holding cell for 24 hours, and charge
them a 200 gp fine apiece.
 On the other hand, if the characters suffer three
failures before three successes with Charisma
checks, they cannot progress past this checkpoint.
The guards force them to leave and cannot make an-
other attempt until after four hours when the guards
undergo shift change.
Success: The party makes it past the final check-
point and gains the opportunity to meet with Laksh-
mi as described below.
A Friendly Favor
The other option involves convincing a known ally,
associate, or acquaintance to grant the PCs access
to the Tower of Castigation and the chance to
meet with Lakshmi. This route
may prove easier (assuming the
characters have good relations
with the group with whom they
ask the favor) than sneaking
and lying their way through
the tower, but it also incurs
a favor for the party to re-
pay at some future time.
The most likely individ-
uals or groups the PCs
may go to for help and
the expectations or
demands of those individ-
uals are described below.
◊  Kommein Family. If the
PCs aren’t on negative terms
with the family, they can gain a
brief, terse audience with Lord
Durza Kommein. He’ll wield his
(admittedly waning) authority to
gain the characters access to Eileen
Lakshmi, but he’ll only agree if the
PCs emphasize how the informa-
tion they acquire could wound
or embarrass the Tzekes
family.
◊  Numari Family. If the
characters have had positive
dealings before with this family, their matri-
arch, Seri Numari, grants them a meeting.
She can provide access to Lakshmi on short
notice. In return, she demands the PCs
share all information they acquire regarding
the Tzekes family, regardless of how minor it
may seem.
◊  Captain Errimac or Lieutenant Adira of the
City Watch. While Errimac can obtain access to
the prisoner for the PCs, Lieutenant Adira lacks
the authority. She can, however, provide useful
information should the PCs wish to infiltrate
the tower by stealth and subterfuge. If the PCs
take this route, her information grants them a
+2 bonus on all checks made in the mini-scenes
Descent into Chaos
described above. For his part, Errimac draws up
the orders to grant the characters a brief, 10-min-
ute interview with Eileen Lakshmi. Assuming the
PCs have maintained a decent relationship with
the captain, he doesn’t ask a return favor, but he
does ask them to keep him informed as to what
they learn.
◊  The Immemorabilis Society. Pallavi Ruza can ar-
range for the PCs to meet with the prisoner in the
tower. If the characters saved some of her agents
and helped set up the canting urns in Scene 1,
she considers this a return favor for one already
performed. In any case, she requires that one of
her agents accompany the PCs to the prisoner
interview.
Prisoner Exchange
Regardless of how the PCs manage
to gain their meeting with Eileen
Lakshmi (page 79), they have a
limited time to ask their ques-
tions and get their answers. The
meeting takes place in a small,
15-foot by 15-foot square win-
dowless room. The only furniture
includes a simple wooden table
and two wood chairs. Two
guards accompany the prison-
er. They remain in the room the
entire time; the PCs can attempt
to convince the guards to leave if
they succeed on a DC 20 Charisma
(Intimidation) or Charisma (Per-
suasion) check. The PCs have 10
minutes for the interrogation and not a
second more. Read or paraphrase the
following, modified as needed for how
the PCs arrived:
The guards escort their prisoner into the room
and shove her into one of the two available chairs.
The chains linked to her wrist manacles clatter as
they scrape the stone floor.
Eileen Lakshmi is a tall, somewhat frail woman
dressed in drab gray prison clothing. Weeks of
imprisonment have left her with disheveled hair, a
pale complexion, and a hollowness in her bruised
face. In spite of her appearance, a flicker of defi-
ance remains in those dark brown eyes.
The PCs find Lakshmi a clever, cagey individual. If
she doesn’t hear anything promising to grant her
freedom from prison, she remains uncooperative,
answering questions with as few words as possible,
and she avoids elaborating on her answers. Her
preferred responses, when possible, are “yes” or “no”
and nothing else. The GM should keep her answers
brief and to the point and as minimally useful as pos-
sible. She avoids answering questions that require
15
 lengthy, detailed answers. Essentially, she confirms
she worked as a servant to the Tzekes household and
her duties primarily involved helping Anushka and
Ishvani Tzekes. She reveals that both sisters trusted
her and confided things in her. She admits she knew
some of what Ishvani was up to if not why—but she
makes certain to let slip how “Ishvani would do
anything, and I mean anything, to get her way… The
stories I could tell you.”
About halfway through the interrogation, read or
paraphrase the following:
Lakshmi releases a long, frustrated sigh. She leans
on the table with her elbow and winks at you.
“Look, I know you want answers and less frustra-
tion. Trust me, I got the dark, dirty secrets you
need on the Tzekes, but I’m not giving them away
for nothing.” She grins. “Get me out of here and
I’ll tell you more than you ever wanted to know…
otherwise, I’m through talking.”
How the PCs handle her demand is up to them. They
can agree to get her released only to renege on their
promise. They can promise to “look into it.” They can
swear an oath of some sort. If they simply try to con-
vince her of their good intentions and ability to help
her, they can persuade her with a Charisma (Persua-
sion) check opposed by her Wisdom (Insight) check.
The GM should keep in mind Lakshmi’s ability
scores and proficiencies, especially in Wisdom
(Insight). She’s smart and stands a good chance of
knowing when someone is lying to her or offering a
glib, useless answer. She understands the PCs can’t
get her out of prison immediately, but she expects
them to call in some favors to gain her release as
soon as possible (within a day or two at most). The
PCs might resort to charming her with magic to gain
the answers they seek.
Investigation. Once Lakshmi feels inclined to pro-
vide details, here are the things she knows and can
be coaxed to reveal:
◊  Braiham Tzekes bought some one-of-a-kind scrolls
while away on business. He gave the scrolls to his
eldest daughter, Anushka, but she found them dull.
The younger sister, Ishvani, took the scrolls and
read a play, The King in Yellow. The scrolls con-
tain both acts and all the information necessary to
put on its performance.
◊  Ishvani still has the play in her possession. She
doesn’t carry the scrolls with her but rather leaves
them locked in a hidden safe somewhere in her
bedchamber (Lakshmi has seen the scrolls only
briefly and by accident).
◊  A
 fter reading The King in Yellow, Ishvani became
obsessed with the play and its eponymous charac-
ter. She was convinced the King in Yellow could
help her reforge the city of Tiarazan into a haven
for artists, poets, and academicians.
◊  Although Lakshmi was in prison at the time of the
16
Descent into Chaos
A Precious Commodity
Once the PCs complete the next scene and meet
with Pallavi Ruza, the GM should use descriptive
words, tone of voice, and phrasing to suggest that
time is running out. No one knows for certain
when Isvhani Tzekes plans to put on her final
performance of The King in Yellow. Keep the
tension high and slowly ramp up the pace to drive
home the ticking clock. Make the players grit their
teeth and chafe at every minute they must spend.
The players must weigh the costs of their actions
and balance them with the risks involved.
That said, the GM can also play events a bit
loose with regard to their timing. This adventure
suggests a timeline measured in hours and days
between different events, but the GM can stretch
the spacing out if the PCs need a bit of extra time.
Several encounters in this prove challenging and
dangerous in their own right—they can become
deadly if the PCs run too low on healing, spell slots,
and limited-use features, especially for the larger,
climactic battles.
murders, she believes Ishvani murdered her sister,
the Kommein’s eldest son, and two others as part
of her obsession with the King in Yellow. She
believes this because she overheard Ishvani speak-
ing with a handsome man (if asked to describe
him, she can describe Molleus the Eye) mention
the requirement of a “sacrifice of something
most dear to the beseecher.” For all her ambition,
Ishvani loved her sister more than anyone else in
the world.
◊  Ishvani came to believe that Lakshmi was an
impediment to her plans and accused the servant
of stealing jewelry. The Tzekes patriarch had
Lakshmi beaten, arrested, given a sham trial, and
sent to prison with a twenty-year sentence for
theft, giving false witness, and spreading gossip
about the family.
◊  If asked, Lakshmi has heard of the Cradle of
Myths. She thinks it is some sort of outdoor the-
ater but she doesn’t know its location. She does
know, however, that for some reason this theater
can only be reached via the catacombs.
◊  The Tzekes family, like many wealthy households,
has its own private entrance to the catacombs
beneath its home.
◊  Finally, she admits Braiham Tzekes is a powerful,
dangerous man, but his youngest daughter is far
more dangerous, twisted, and ambitious.
Acquiring a pardon and release for Lakshmi should
prove possible but challenging and expensive in
return for coin, favors, and promises made. Captain
Errimac lacks such authority. Further, he expresses
deep reluctance to make the request of his superiors
since such an act would draw the ire of one of the
city’s wealthiest merchant families. Durza Kommein
could possibly be convinced to arrange such a pardon
but he would demand a large favor in return—most
likely bringing him the head of Braiham Tzekes!
The best option for gaining this pardon would be
Pallavi Ruza and the Immemorabilis Society. Since
Ruza needs to meet the PCs soon and discuss with
them their next steps, this remains the PCs’ best
path.
If the PCs opt instead to break Lakshmi out of pris-
on, it should be as difficult as getting in was and they
make a devoted enemy in the form of the City Watch.
Scene 3. A Time for Strategy
Agents of the Immemorabilis Society have helped
slow the spread of the crazed mobs through use of
the canting urns and, where possible,
identifying the mobs before they
form and stopping the process.
Nonetheless, they fight a losing
battle as the city tumbles deep-
er and deeper into widespread
madness. They need a different
strategy and soon. To that end,
they need to meet with the PCs
and compare what information
each side has collected.
The PCs might initiate this
meeting, or the Society may
contact the characters to ask
for it. If necessary, Pallavi Ruza
can contact one of the PCs via the
sending spell. The Society has a secure
place in which to meet located in the
Rise District (the part of the city
with most of the government and
bureaucratic offices). Otherwise,
Ruza agrees to a locale suggested
by the PCs.
Once the meeting has convened,
read or paraphrase the following:
Pallavi Ruza, her face lined
with stress and fatigue, offers
you a bow of respect. “I haven’t had the opportu-
nity to personally thank you for saving our agents
from the mobs, so I do so now.” An aide steps
forward and hands her a rolled-up sheet of parch-
ment. Ruza flattens the parchment on a table to
reveal a map of Tiarazan.
“Our agents have been run to ragged trying to
stop, or at least slow down, the formation of new
mobs. Sadly, we’ve reached the point where we’ve
almost exhausted our supply of the magical urns.
It’ll take us several days to replenish them—a
luxury we no longer have.” Ruza points to several
different locales on the map. “The mobs are now
forming too fast for us to stop. The Mudflow and
parts of the Ribbon have become almost too dan-
gerous to enter. We estimate the city will collapse
Descent into Chaos
into total anarchy within three days… perhaps
fewer.”
Ruza studies you and your comrades for a
moment. “We have information to share that may
help us chart a path to victory. It is my hope you
also have knowledge to share with us. If we are to
save the city, I fear much of the burden may soon
fall on your shoulders.”
At this point, Ruza shares information the Society
has collected to date. She eagerly listens to any
information the PCs offer in return. She reveals she
acquired additional intelligence by questioning Da-
mani Veers and the scholar Syren Nakash (both in-
dividuals from Act II). Here are the essentials of her
revelations. The GM can roleplay out the exchange
between Ruza and the characters or simply pro-
vide this information as presented below.
◊  The PCs interrupted the ritual being
performed by Molleus the Eye and
Ishvani Tzekes at the Sunken Cathe-
dral. In so doing, they prevented the
worst of what could have hap-
pened. As was obvious, the villains
completed enough of their ritual
to imprint the Yellow Sign on the
moon (or at least appear to do
so). As crucial as this event was,
the PCs stopped the equivalent of a
stage rehearsal.
◊  Ishvani Tzekes and the surviving mem-
bers of the Mummers still plan one
final grand performance. This event
involves the full play of The King in
Yellow, the completion of which allows
Ishvani to become host to the most
powerful of the King’s avatar
forms.
◊  Once Ishvani and the King
in Yellow become one, there
may not be a power in the
city capable of stopping
them. The King can tra-
verse the city at will, free to
inflict his whims.
◊  A powerful connection exists between the King
in Yellow and undead within his area of influence
(the size of which no one fully knows). The King
can command all undead at will. This represents
a grave danger given the presence of ten thousand
of the Honored Dead in the catacombs beneath
the city. Thus, when the King in Yellow takes over
Ishvani, he can use the Honored Dead to slaugh-
ter his enemies with impunity.
◊  There exists a magic relic, the Ten Thousand Rod,
which allows the wielder to command the Hon-
ored Dead. There’s a slim chance that if the PCs
acquire the rod that they can prevent the King
from controlling these undead.
17
 ◊  The rod remains in the possession of the Temple
of Irisia, Goddess of Death, kept locked away
by the high priest. Unfortunately, most of the
priests, regardless of sect, have fallen victim to the
madness and chaos consuming the rest of the city.
If possible, the PCs need to travel to the Parish
District and acquire the Ten Thousand Rod from
the temple by any means necessary.
◊  Given the constant use of the name “Hastur” by
the Mummers and their allies, there exists some
hidden connection between the King in Yellow
and Hastur the Unspeakable (Note: Ruza and her
associates know better than to speak this name
aloud.) The King represents a terrifying threat to
the city; Hastur represents a threat to the world.
◊  Finding and stopping Ishvani from summoning
the King in Yellow offers the last chance to save
Tiarazan. The PCs must track her down and stop
her from completing the final performance of the
play.
◊  Regarding the theater referred to as the “Cradle of
Myths”, Ruza has uncovered a few scant accounts
of such a place. She believes it to be an outdoor
amphitheater of some sort, but none of her books
or other sources suggest where it might be locat-
ed. She did come across one record suggesting
the theater can only be reached by way of the
catacombs. It stands to reason that the Tzekes
family has their own entrance to the catacombs
and such a passage may lead to the amphitheater.
The answers lie at the Tzekes mansion.
With all the information and clues they’ve acquired,
the PCs have two goals to accomplish, both of which
involve traversing an increasingly dangerous, chaotic
city. First, they need to acquire the Ten Thousand
Rod from the Temple of Irisia in the hope of prevent-
ing the King in Yellow from using the city’s undead
defenders.
Second, the PCs need to go to the Tzekes mansion
to see if they can locate the text of The King in Yellow
play and any clue as to the location of the theater
known as the Cradle of Myths. Once armed with this
information, they can then track Ishvani down and
stop her from summoning the King in Yellow one last
time and dooming the city.
Development. During the back-and-forth discus-
sions between the PCs and members of the Society,
the room abruptly grows cold and the nearby candles
flicker and dim. Over the past few days, the servants
of the Yellow Sign have infiltrated the Immemorabilis
Society by replacing several of its agents. The infiltra-
tors choose this moment to launch their attack.
Creatures. The enemy agents, magically altered
to appear like Society agents, include a Yellow Sign
attendant (SPCM 389), a blessed berserker (SPCM
404), a cult killer (SPCM 404), and a deathless
wizard (SPCM 389). They target Pallavi Ruza (the
18
Descent into Chaos
Streamlining the Fight
Rather than playing out a large battle with many
combatants, the GM may consider handwaving
parts of the fight. The PCs can issue orders (free
action to do so) to their allies with the aim of
having their allies concentrate on specific enemies.
When the PCs assign four of the Society agents
and one of the priests against one enemy target,
assume they fight but do not worry about attack
and damage rolls. Simply put, they cancel each
other out and remove one another from the battle.
If the PCs take this option, they can tie down two
different enemies and keep Pallavi Ruza out of
harm’s way.
Society’s leader) as well as the PCs, paying special
attention to party priests and other spellcasters.
The PCs have several allies on hand to join the fight,
including Pallavi Ruza (page 87), eight Immemorabi-
lis Society agents (page 100), and two priests.
The servants of the Yellow Sign do not expect to
survive this fight; they only seek to inflict as many ca-
sualties as possible. They take the time to make sure
downed combatants (including the PCs!) are dead
rather than simply unconscious.
Once the battle concludes, the surviving Society
members (which may or may not include Ruza) are
shocked and subdued by this turn of events. The
tattered remnants of their organization have proven
vulnerable to infiltration and the situation in the city
has spiraled beyond their control. From this point
forward, the Immemorabilis Society has little left in
terms of reserves or will to continue fighting.
Treasure. The Society has gained further infor-
mation from the sage Damani Veers and the scholar
Syren Nakash. Ruza (or the senior surviving Society
member on the scene) offers to give the PCs four of
the Society’s dwindling supply of the canting urns—
doing so leaves them the society with only four urns
of its own.
In addition, the Society offers the loan of several
magic items to aid the PCs’ efforts. These include the
following:
◊  L
 ightning gun (SPCM 126); If she’s still alive
following the surprise attack, Ruza refuses to
share any information as to how they acquired this
strange device. She only explains how to use it
and how she expects its return upon completion of
the mission.
◊  Amulet of health
◊  One arrow of human slaying
◊  Four beads of force
◊  Elemental gem of earth
◊  One potion of superior healing per PC
◊  One potion of greater healing per PC
Optional Interlude: The Nightmare
Visitor
This interlude scene can occur any time the PCs
take a long rest and catch some sleep. Together, they
awaken in a nightmare realm and besieged by an
unseen but terrifying entity.
With a few exceptions, all the PCs visit the night-
mare realm together. Elven PCs and others that do
not sleep are unaffected by this event, experience no
shared nightmare, and suffer no ill effects. Likewise,
if the party has any PCs stand watch during the long
rest, the PCs on watch when the nightmare occurs
are not included either. Only characters sleeping at
the same time experience this encounter.
Ishvani Tzekes has cast nightmare, a spell similar
to but more potent than the dream spell. This variant
allows Ishvani to enter the dreams of several individ-
uals she knows at the same time. When she pays a
dream visit to the PCs, she first appears as herself to
deliver a message. Once she finishes her message,
she melts and transforms into a monstrous horror
resembling a formless spawn (SPCM 321).
Read or paraphrase the following, pausing as
appropriate to allow the PCs to interact with Ishvani.
Remember that this is a nightmare she controls, how-
ever, and the PCs cannot harm her or stop her within
the dream itself.
When you startle awake, you and your comrades
stand outdoors on a ridge overlooking a vast,
shadowed valley. Something moves through the
distant trees, pushing aside the trunks and shak-
ing branches as it slithers along the ground.
“I love this view,” a feminine voice calls from
behind you. Ishvani Tzekes, clad in tattered yellow
robes with a cowl pulled down over her eyes,
steps out of darkness. “I respect your dedication
and perseverance in opposing the King in Yellow,
but your efforts are misplaced.” She spreads her
arms wide and smiles. “We will remake Tiarazan
into a place of beauty, of learning, and of art. No
starvation. No beggars dying in the streets. No
indentured servitude or debtors’ prisons.”
Ishvani sighs and bows her head. “But we’re
past coming to any sort of accord. I suspect you
won’t stop until you kill me, but even death won’t
stop me.”
A strange tremor ripples along her body, as If
reality bends around her.
“I wanted to show you what you stand against
and I wanted you to appreciate how hopeless a
cause you have chained yourselves to. There is
nowhere you can hide from me, no thought you
can keep secret. We are everywhere.”
The flesh of her face melts to expose bone.
The top of her head cracks open and a series of
sinewy, oozing tentacles rise from her skull. Her
body dissolves into a loose sack on the ground. In
its place stands a pulsing blob of glistening skin
Descent into Chaos
A Lapse in Judgment
The PCs may wonder how a secretive organization
like the Immemorabilis Society and someone as
cunning as Pallavi Ruza could allow the enemy to
infiltrate their ranks and attack them with such
impunity. Under ordinary circumstances, the
Society wouldn’t be so vulnerable to infiltration,
but these circumstances are far from ordinary.
The Society has lost many members and agents
over the last few days while battling the mobs. The
survivors, including Ruza, have become exhausted
and overwhelmed. Their resources have reached
a breaking point. Meanwhile, the enemy has
spent time observing the Society and learning its
methods and security protocols, allowing it to use
magic and subterfuge to infiltrate their enemy’s
ranks.
covered with tendrils. It constantly creates and
devours an endless number of new limbs, eyes,
and fanged mouths.
Each PC pulled into the nightmare must make a DC 19
Wisdom saving throw. On a failed save, the PC suffers
repeated nightmares for the remainder of the night;
when they awaken, they take 17 (5d6) psychic damage
and gain 1 level of dread that lasts util they complete a
long rest. Any PC affected by this spell gains no benefit
from the long rest they just completed.
Development. The GM can decide if Ishvani has
acquired a lock of hair, fingernail, or other body
part of any individual PC. If she has acquired such a
component, the PC has disadvantage on their Wis-
dom saving throw against this spell’s effects. Given
her powers and abilities (especially while wearing
the lesser pallid mask) and the number of times her
associates have interacted with the characters, it isn’t
out of the question she could acquire such physical
samples from at least a few PCs.
Scene 4. A Disturbing Lack of Faith
The PCs must now cross the city from their meet-
ing with the Immemorabilis Society and over to the
Parish District and the Temple of Irisia. An unknown
number of the crazed mobs blocks their path, not to
mention normal crowds of citizens trying to live their
daily lives. Once the players decide the route their
characters take, unless they have chosen the cata-
combs (in which case, see below), read or paraphrase
the following:
The streets of the city have become battle-
grounds. Everyday citizens, aristocrats with their
guards and servants, priests accompanied by
acolytes, and the exhausted squads of the City
Watch wander the streets. Some wander out of
confusion while others fill the streets to find
out what’s going on. A few naïve people cling to
19
 their daily lives as if routine protects them from
the madness. Crowds both angry and frightened
loot shops and attack merchants in a desperate
attempt to secure food and other items.
At least a dozen smoke trails rise from this
neighborhood and others. Each plume marks an-
other building in flames. The city is fast approach-
ing its death throes.
The PCs must decide how best to reach the temple. If
they possess sufficient magical resources to fly there,
they encounter no obstacles or threats on the journey.
Otherwise, the PCs must rely on one of three routes:
through the city streets, by way of the catacombs, or
by taking the Thieves’ Highway (i.e., traveling rooftop
to rooftop as much as possible).
Creatures. If the characters risk the open streets
(not so open, really), they encounter a crazed mob
(page 96).
Rogue’s Highway. If the characters use the
Rogue’s Highway, they avoid any encounters but risk
suffering exhaustion due to the challenging physical
nature of this route. As part of this trip, have each PC
make three DC 16 Strength (Athletics) or Dexterity
(Acrobatics) checks. Each time a PC fails one of
these checks, they take 2d6 damage from a stumble
or other unfortunate event; if a PC fails two of the
three checks but succeeds on one, they arrive at their
destination having gained one level of exhaustion;
a PC failing all three checks gains a second level of
exhaustion.
The Catacombs. If the characters have the benefit
of a knowledgeable guide through the catacombs,
they can reach the Parish district and avoid the
crazed mobs, although they do have one encounter
from the catacomb encounter table below. If the PCs
lack a guide, they instead have two catacomb encoun-
ters. The GM should roll or choose these encounters
from the Catacomb Encounter table.
Development. If the PCs killed Rugarosa or never
encountered him in the previous act, remove him
from the above encounter and include only the 1d4+1
Mythos ghouls. If the characters helped Rugarosa
begin his life living above ground and they left him
on good terms, Rugarosa explains how the city be-
came too dangerous to remain in for the time being.
He’s willing to escort the PCs the rest of the way to
the Parish District. If the PCs request his help, he
agrees. His guidance allows the PC to traverse the
catacombs without another encounter. In addition,
he offers a bit of information concerning the Tzekes
family. Read or paraphrase the following:
“You helped me in past, now allow me to aid you
with information. I know you have an unhealthy
obsession with the Tzekes family. A few of my
ghoulish sources informed me of the presence
of potent, otherworldly magic in the vicinity of
the Tzekes mansion. My advice? Stay away from
them—they’re all insane.”
20
Descent into Chaos
Catacomb Encounter
D12 Encounter Result
1 Rugarosa the crypt lurker (SPCM 325) and
1d4+1 Mythos ghouls (SPCM 325)
2 1d3+1 mummies and 1d4 zombies; these are
the Honored Dead and they do not attack the
PCs unless attacked first or if the PCs have
previously been named as enemies of the city
3 1d4+1 shadows
4 1d4+1 Mythos ghasts (SPCM 323)
5 1d3+1 ghouls and 1d2 ghasts
6 A ghost
7 1d6+1 cultists and 1d2 cult fanatics (might
be Mummers, might belong to some other
heretofore undiscovered cult)
8 1d4 swarms of rats
9 A patch of brown mold clings to the ceiling
(see the core rules for description of this
dungeon hazard
10 A tunnel flooded with water from floor to
ceiling with a depth of 10 feet. The tunnel
extends 1d6 x 10 feet
11 3d4 lost and frightened commoners of
various ages seeking refuge in the catacombs.
They beg the PCs for help in finding potable
water and an escort to a safer part of the city
12 No encounter
The Temple of Irisia
Though it’s less crowded than other parts of the
city, and the crazed mobs have so far avoided this
neighborhood for the most part, that does not explain
why the Parish District is strangely quiet and calm.
As the characters move through the district, read or
paraphrase the following:
An eerie calm cloaks this part of the city. The
crowds of frightened citizens and the ram-
paging crazed mobs are nowhere to be seen.
Other signs of violence, however, soon become
apparent. Men and women garbed in priestly
robes litter the streets, covered in blood or
scorched with magical fire. In several instances,
you stumble across a cluster of bodies where
the clergy of two different faiths fought and
killed one another. A dozen acolytes from the
faith of Mirra Dovesong, goddess of protection
and sanctuary, hang by the nooses from a row
of trees.
When the characters reach the Temple of Irisia, read
or paraphrase the following:
The torn and twisted bodies of five acolytes lie on
the ground near the Temple of Irisia. By the looks
of their wounds, they died either from a blud-
geoning weapon or from holy fire—or perhaps
both.
A low moan arises from underneath the corpse
pile. The bodies start to shift.
Buried beneath the corpses is the last surviving
acolyte from the temple and a friend to the charac-
ters, Pallminya. She asks for help in escaping from
beneath the bodies. Although she’s coated in dried
blood and her hair has been singed, the acolyte in-
sists her wounds aren’t life-threatening. She accepts
healing ministrations, however, for the injuries she
sustained—she’s down to 20 hit points out of
49, but she’s not at risk of dying.
If the PCs haven’t dealt with
Pallminya before, she tells
them what she saw and expe-
rienced if they help mend her
wounds.
The PCs have two choices here: they can either
fight Lukaris and the other clergy for the rod, or they
can try and convince him to surrender it willingly.
The Combat Path
If the PCs opt for combat, Lukaris and his associates
fight without giving or asking for quarter. They fight
with the zeal of holy warriors defending their temple
against defilers. Of note, because Lukaris
labors under the delusion of being

“The whole city’s gone

mad and the temples
didn’t escape unscathed.
I’ve seen priests and
acolytes from different
faiths fight and kill each
other over stupid, theo-
logical disagreements. The
last thing I remember, Father
Lukaris and the other temple
priests came back here looking
like they’d bathed in blood. Father
Lukaris told us we’re engaged in a
holy war—something about the ‘soul
of the city.”
“One of the other acolytes asked a
question… It was one of those dumb
things you say when you can’t think
clearly. Lukaris reacted like a madman.
He accused us of heresy, treachery, and
demon worship. That’s when he started
thrashing about with a battle staff and
unleashing a flame strike. I was hurt, but I
dove and squirmed my way under some of the
dead.”

Pallminya believes that Father Lukaris and a few

other clergy are somewhere in the temple. If asked
about the Ten Thousand Rod, she becomes with-
drawn—she’s not supposed to know about, let alone
mention the existence of the rod.
If the PCs press her for answers, she tells them
Father Lukaris is the official guardian of the relic and
the person anointed to use it in defense of the city.
The last she saw, Lukaris held the Ten Thousand Rod
and wielded it like a quarterstaff. She’s too injured,
exhausted, and frightened to enter the temple or help
the PCs deal with Father Lukaris.
Father Lukaris, one of his fellow priests, and three
of his loyal guards are in the main worship area of
the temple, praying before the altar to Irisia. Lukaris
believes he’s been ordained to save the city from
evil forces sweeping through it, and thus he’s been
engaged on a holy cleansing of pagans and other
non-believers among the other faiths.

21
Descent into Chaos

 protected by divine powers, his AC is reduced by 4
from its normal value, and he suffers disadvantage on
saving throws against fire.
Creatures. The combatants in this encounter
include Father Lukaris (page 81), two priests, and
two knights. Lukaris wields the Ten Thousand Rod
(page 109) as his weapon.
For this encounter, the GM can use the map
of the Temple of Irisia found in Act I of this cam-
paign-length adventure. If the GM doesn’t have
access to this map, they can sketch out a rectangular
main temple worship area measuring 80 feet by 60
feet and featuring an altar on a raised dais, some
pews or similar seating for the parishioners, and the
presence of normal religious liturgical trappings
such as candelabras, founts, small tables, tapes-
tries, statuary, etc.
The Parley Path
If the PCs try to parley with Lukaris, they must find
a way to break through the madness gripping his
mind. He suffers from irrational hatred (DC 15) of
all those outside his faith or those who doubt his
intentions. A PC can identify the priest’s irrational
hatred with a DC 15 Wisdom (Medicine) check.
Lukaris is skilled at hiding his hatred and feigning
a sane mind. If a character attempts to diagnose
his madness, he makes an opposed Charisma
(Deception) check with advantage to hide signs
of his madness. What’s more, the Yellow Sign
inscribed in the temple affects Lukaris’s Wisdom
saving throws and checks made to treat his mad-
ness (see The Yellow Sign Calls to Me, below.)
Because of the growing influence of the King
in Yellow over the city and the presence of a
Yellow Sign within the temple proper, a PC
seeking to cure Father Lukaris of insanity must
first cast greater restoration once for each type
of madness. The PCs must remove the priest’s
insanity before they can speak with him on a
rational level. Since Lukaris does not believe
he suffers from madness and because he
assumes the PCs do suffer from madness,
he refuses to let anyone cast any spell on
him, whether beneficial or not. Thus, if a
character wishes to cast greater restoration
against Lukaris, they must first succeed on
a melee spell attack roll.
The GM can decide to allow lesser res-
toration to temporarily cure Lukaris of
madness; each attempt to do so requires
a successful melee spell attack against Lu-
karis’s AC. This lesser curative only keeps
Lukaris sane for 1d4 minutes, after which
his insanity return in full force.
Even if they restore Lukaris’s mind, the PCs
must convince him they should have the Ten Thou-
sand Rod. The PCs have good standing in his eyes
if on previous occasions they helped Pallminya, this
22
Descent into Chaos
temple, or the Parish district in general. In this case,
Lukaris remembers them and holds them in high re-
gard. Along similar lines, he’s also prob-
ably heard of the party’s past efforts in
dealing with the crazed mobs and helping
people in his city. If for some reason the
PCs never dealt with the Temple of Irisia,
then Lukaris knows little about them
other than a few stories about their exploits
in the city. The characters must provide
strong, convincing arguments and at least
some sort of evidence to convince Lukaris
to turn over the rod. The GM may allow the
players to bolster their roleplaying efforts by
making two or three DC 20 Charisma (Per-
suasion) checks—Intimidation and Deception
only make Lukaris less inclined to agree.
Note that curing Lukaris of his madness
does not do anything positive for his allies. If
Lukaris starts listening to the PCs, negotiat-
ing with them, or treating them with anything
other than righteous anger, the priest’s allies do
anything in their power to drive away the PCs
and “rescue” Lukaris.
The Command Word
Whether the characters take the Ten Thousand
Rod by force or through diplomacy, they still
must acquire the command word to activate it.
This could be accomplished by several means,
including using speak with dead if Lukaris has
been freed of madness through death, using some
form of charm or domination magic to compel
him, or through clever roleplay. It’s also possible
the priest surrenders the command word with his
dying breath, hoping someone will take up the rod
to protect Tiarazan.
The Yellow Sign Calls to Me
A few days ago, a couple members of the Drunken
Crows bardic troupe (at the behest of Ishvani Tze-
kes) entered the worship hall and used pigments
from Yuggoth (SPCM 127) to draw a Yellow Sign
on the temple floor. The symbol is quite large, cov-
ering an area of 100 square feet (a 10-foot square),
and the sign isn’t obvious unless someone looks
for it. The existence of this sign exacerbates and
perpetuates the madness of Lukaris’s and his
associates.
Only two methods can erase or dissipate this
Yellow Sign: either an application of universal solvent
or two applications from the quill of Sumaris (page
108). If the characters didn’t go through Act II, then
they do not have this relic available to them. Dispel
magic has no effect on the any drawing made with
the pigments.
Eradicating the Yellow Sign has two immediate
effects. First, Lukaris and his allies suffer disadvan-
tage on all Wisdom checks and saving throws for the
duration of this encounter. Second, any ability check
or attack roll made to specifically cure Lukaris of his
madness gains advantage (e.g., the attack roll made
to cast lesser restoration or greater restoration on an
unwilling target).
Aftermath
Other than the Ten Thousand Rod, the PCs gain little
in tangible rewards from this scene. If they saved
Father Lukaris from his madness and he survived the
encounter, he offers to use his remaining spell slots
to restore or heal the party if they wish it, but he is
too exhausted and weak to accompany them on their
quest against the King in Yellow.
In addition, Lukaris offers information concerning
the Ten Thousand Rod and what it can (and can-
not) do. The wielder can speak the command word
and call up some or all of the city’s Ten Thousand
Honored Dead defenders, after which the defenders
begin exiting the catacombs a few at a time over
the course of 24 hours. From here, the wielder can
control this army, including where they should move
and when they should attack. This summons can
only be performed once per twenty years, so Lukaris
implores the PCs to only use this power if it proves
an absolute necessity.
Lukaris also warns that the Honored Dead when
summoned in their masses are not too picky or
careful regarding their targets. They assault, kill, or
merely trample anyone or anything in their way—chil-
dren, animals, innocent civilians, etc. They also make
no effort to avoid property damage, so ordering the
undead to attack inside the city all but guarantees
destruction to numerous buildings and structures.
Against other undead not part of the Ten Thou-
sand, the rod has several powers, as described in the
Appendix (page 109).
Scene 5. Across the Mad-Swept Ocean
The characters possess the Ten Thousand Rod,
which might prove invaluable should they face the
power of the King in Yellow. Now, the PCs need to
go to the Tzekes family estate. Although there’s little
chance of finding Ishvani at home, the PCs may
find the last few clues to point them to the Cradle of
Myths amphitheater. To get to the mansion, located
within the Marble Way District (home of the city’s
aristocrats and wealthy elite), the characters must
once again traverse part of the city and risk the wrath
of the crazed mobs.
The characters have a few options open to them to
reach their destination. This time, however, they have
one advantage in that the Temple of Irisia sits on the
southern border of the Marble Way. They still must
cross most of this district, but it doesn’t represent a
lengthy journey.
◊  The streets. Traversing the streets to the Tzekes
mansion heightens the risk of encountering mobs
along the way.
Descent into Chaos
◊  The high way. The Rogues’ Highway isn’t an
option—the homes and buildings in the Marble
Way are too far apart to accommodate this mode
of travel.
◊  The catacombs. Taking the catacombs isn’t a
good option since the PCs do not know which
tunnels connect to the Tzekes estate (and, in any
case, the mansion is no longer directly connected
to the catacombs due to the effects of planar mag-
ic). Most wealthy families have a private entrance
in their basement leading into their private section
of the catacombs, and these entrances are difficult
to locate for those unfamiliar with them—most
families jealously guard their section of the cata-
combs. (Note, some of the Mummers were able to
enter the Tzekes estate because Ishvani provided
them precise information and a special key to gain
access.) Traveling by way of catacombs gets the
PCs part way through the Marble district, but they
still must walk the last third of the trip by way of
city streets.
◊  Magical travel. If the PCs possess the necessary
magical resources, they can fly from the temple to
the estate without hindrance in the span of a few
minutes.
Development. Partway into their trip from the Tem-
ple of Irisia to the Tzekes estate, the PCs encounter
a new threat wandering the city streets. Read the
following text out loud:
In contrast to the mobs that have plagued the city
of late, an ordered column of people marches four
abreast down the street toward you. The column
includes ordinary citizens, City Watch, beggars,
and others. Their faces are red with anger and
hate, and they hold aloft a variety of improvised
weapons, including pitchforks, makeshift clubs,
and rocks.
A handful of the marchers break free from the
column and charge toward you with inhuman
speed. They snarl, scream, and froth as they run,
more like feral animals than human beings.
Creatures. This is an enraged horde (page 99). The
main mass of people functions like a swarm able to
release individual members to attack nearby targets.
These individual creatures are fast, agile, and surpris-
ingly strong, and they try to drive their enemies back
toward the main horde.
The PCs can attempt to escape the main body of
the horde by running into a nearby building. They
face an obstacle in doing so, however, because every
home or estate in this district has an iron fence, often
topped with spikes or other deterrents, surrounding
the perimeter. The buildings themselves are locked
and difficult to break into. Finally, while the PCs
might escape the main horde, the individual enraged
berserkers aren’t deterred or as easily confounded.
After the characters escape the horde and its
23
 berserkers, they arrive at the Tzekes mansion. Time
is running out…

Conclusion
The pieces are moving into position for the climax.
Somewhere in the city, Ishvani Tzekes prepares to
give one grand performance of The King in Yellow, an
act which summons the King in Yellow to merge with
her. She believes this will allow her to remake the
city anew, turning it into a haven for artists, philoso-
phers, and free thinkers and without the centuries of
calcified traditions and social expectations.
The PCs know Ishvani plans to give this final
performance, and they know she intends to do so
at an outdoor theater named the Cradle of Myths.
Unfortunately, no information as to where this am-
phitheater might exist has been unearthed other than
a few hints it can only be reached via s secret tunnel
through the catacombs.
The characters have acquired a magic artifact,
the Ten Thousand Rod, which grants them control
over the Honored Dead—the city’s undead defenders
found in the catacombs—to use against enemies of
Tiarazan. The PCs hope the rod also prevents the
King in Yellow from taking over this undead army for
his own purposes.
At this juncture, the PCs need to enter the Tzekes
mansion and search for final clues. If possible, they
could acquire the text of The King in Yellow play and
uncover some weakness they can use against the
King. They also need to locate the Tzekes’ private en-
trance into the catacombs. If the information they’ve
acquired proves accurate, this entrance connects to
a tunnel, which then leads to the Cradle of Myths
amphitheater.
By this point, the city of Tiarazan is succumbing
to widespread madness as the crazed mobs become
more common and more dangerous. The existence of
the Yellow Sign reflected from the moon has pushed
the city to the brink. The PCs have lost some of their
allies and associates; the Immemorabilis Society has
been devastated and lacks the cohesion to provide
any further aid. While the characters might want
all the help they can find, they also realize the bitter
truth: no one in this city is better able to locate and
defeat Ishvani Tzekes than they are. The PCs repre-
sent Tiarazan’s final hope for salvation.

Experience Points
By the end of Chapter 1, the PCs gain enough
experience to reach 9th level.

24
Descent into Chaos

Chapter 2: Desperate Measures
A Cthulhu Mythos Adventure for 4 to 5 Characters of 9th level
Whereas Chapter 1 took place in numerous loca-
tions throughout the city and involved a wide scale
hunt for information, this episode narrows the focus
to one mansion. The characters must make their
way through a household replete with dangerous,
unstable inhabitants both human and otherwise, all
while dealing with alien magical effects capable of
distorting reality.
There are no specific scenes in this episode. The
pace and flow of the adventure rely on the PCs, their
actions, and their reactions. There isn’t an overarch-
ing story here since the characters are exploring and
searching in whatever way they deem appropriate.
Chapter Synopsis
The characters arrive at the Tzekes estate to find it
gripped by madness and strange magic capable of
warping reality on a local scale. The mansion has
been ransacked by some of its former servants and
members of the Quicksilvers faction once loyal to
the family.
The PCs need to locate a few things inside the
house. First, they need to find the physical copy of
The King in Yellow play, a set of scrolls that may
Desperate Measures
represent the last surviving copy of the work. There’s
a chance the play may offer hints how to fight or
defeat the King in Yellow or, preferably, prevent his
summoning. The PCs also need to find the mansion’s
secret entrance to the catacombs. This entrance
should lead the characters to the Cradle of Myths
amphitheater where they can end this nightmare
once and for all.
The Approach
The Tzekes estate has suffered since the last time
you visited. A number of bonfires burn in the man-
sion’s front yard, casting warped shadows. Here
and there, a light shows through one of the second
story windows, but the rest of the mansion remains
dark. The air appears to ripple as if from a great
heat, but the evening feels unseasonably cold.
A group of thugs from the Quicksilver faction
mill about near the mansion’s entrance. Their
faces, illuminated by the bonfires, are streaked
with sweat and dirt. The thugs grip their weapons
tightly as if desperate for something to hit to
banish their fears.
25
 Creatures. There are seven bandits and their leader strange symbol appeared on its face. Some of the
standing in the way. If she’s still alive from the fight thugs ran away and others tried to harm them-
in Chapter 1 at the House of Iridescent Dreams, selves or their fellows.
Amadicia (page 76) leads the thugs. (If she died at ◊  Unexplained lights and noises came from inside
some point in a previous adventure, replace her with the mansion. Strange odors filled the air. The
a bandit captain.) Quicksilvers heard shouts, screams, groans, and
A fight isn’t inevitable here despite the thugs’ agi- other, weirder noises from the house.
tation. The Quicksilvers remain in a state of shock.
◊  The family patriarch, Braiham Tzekes, ordered
Over the course of the day, nine of their fellows
Amadicia to send some of her fellow gangsters
entered the mansion at various times; only one
into the house. Despite her trepidation, she
of them has returned so far, and he exited a
obeyed. Only one of those she sent inside
babbling, blood-covered mess before fleeing
has returned. She feels deep shame for
down the street despite having lost both his
being unable to muster the bravery to enter
eyes. Amadicia and the others have heard
the house herself.
screams, both human and otherwise, coming
from inside the mansion (although things ◊  The Quicksilvers are convinced something
have been quiet for the past hour malevolent now haunts the mansion.
or so). The thugs continue guard- Whether Braiham is responsible or a
ing the house because that’s victim, they can’t say.
something they can grasp, but ◊  Only one person has left the house
none of them can summon the in the past 24 hours, and that
courage to enter. person left the house babbling non-
Whatever animosities sense and with his eyes gouged out.
existed between the gang and
The Quicksilvers don’t want to
the PCs no longer matter. The
remain here, but they also fear trav-
Quicksilvers hold no loyalty
eling through a city in chaos and
for the Tzekes but remain too
flames. They have nowhere else
shocked and dazed to go any-
to go. Under no circumstances will
where else. Amadicia and her
any of the thugs enter the mansion
followers ready their weapons and
if they have any say in the matter.
approach the party but don’t start
combat unless attacked. If com-
bat erupts, this encounter poses The Tzekes Mansion
no serious threat to the party. As one of the wealthier mercantile
Development. If the charac- families in Tiarazan, the Tzekes live
ters avoid combat or capture in a spacious, luxurious mansion
one of the gang members, they filled with enormous rooms and
learn a few disconnected bits ostentatious furnishings. The fam-
and pieces about the situation ily has long held a reputation for
inside the mansion. Here hosting memorable parties that
are the basics of what they can last for days.
reveal; the GM can role- The mansion
play out a question-and-an- includes two stories
swer session if they plus a cellar used to
choose. store supplies, foodstuffs, herbs,
◊  With the city cascad- and alcoholic spirits. There’s also
ing into madness and an entrance from the ground
anarchy, the surviving floor down into an antechamber
Quicksilvers assem- with a door that leads into the
bled to protect the family’s private section of
Tzekes estate. the catacombs.
They’ve suffered The house features
several losses numerous windows, as
from the roving indicated on the maps, covered by ex-
mobs but otherwise have held pensive glass panes. In addition, the east
strong. and west sides of the mansion front feature massive,
two-story windows. This design resembles that seen
◊  Several nights ago, everything changed (when
in the House of Iridescent Dreams, as it was once
the PCs left the catacombs after the battle at the
a popular architectural fashion in the city. Entrance
Sunken Cathedral). The moon transformed and a
into the house via one of the smaller, standard
26
Desperate Measures
windows is simple—the PCs can break the glass and
crawl through without difficulty.
The two-story glass frontages are, however, far stur-
dier and more difficult to shatter, having the toughness
and resilience of steel. If the characters are deter-
mined to do so, they can break a hole in one of the win-
dows big enough to climb through. Consider a section
of the windows as AC 18, hp 125, damage threshold 5,
immunity to bludgeoning, piercing, and slashing from
nonmagical weapons, and immunity to poison and
psychic damage. If the PCs shatter a section of these
massive windows, all characters within 20 feet of the
windows must make a DC 13 Dexterity saving throw
to avoid huge shards and splinters of broken glass,
suffering 17 (5d6) piercing damage on a failed save, or
half as much damage on a successful one.
If the PCs want to scale the front of the house and
enter via a second-story window, they can do so with
a successful DC 14 Strength (Athletics) or Dexterity
(Acrobatics) check. The PCs can also enter via the
front doors or the rear servants’ entrances.
Regardless of how the characters enter the man-
sion, they find things are not quite so direct or easy
as they’d like.
Alien Geometries
Ishvani Tzekes used a magical relic, the Dimensional
Chain (page 108), to connect her family’s mansion
to the alien dimension where the Cradle of Myths
amphitheater is located. This planar tether “stretch-
es” the mansion between its original plane and the
plane Ishvani is on, which in turn leaves parts of the
house open to dimensional shifts and pockets where
the mansion touches the border of other planes. This
effect warps local reality such that the area inside the
house flows between the two planes without appar-
ent logical order. As a result, the PCs may travel
one direction only to end up somewhere they never
expected. Entering a doorway doesn’t always mean
the PCs enter the room on the other side.
When the characters pass through a door or
window leading into the house or inside the house,
the GM should choose or roll 1d10 and consult the
Alien Geometries table, below, to determine where
the characters end up. This effect starts with the
entrance through which the party enters the house
(whether door or window) and continues throughout
most of the mansion.
The dimensional shifting does not affect the Li-
brary (ground floor, Area A19), its connected secret
room (ground floor, Area A20), or the Chapel (second
floor, Area B12). Although creatures can appear in
these areas from other places due to the dimension-
al shifting, if they pass through the door into one
of these rooms, they enter that room. If they leave
through the door of one of these rooms, they end up
where they expect to on the other side of that door.
The dimensional shifting still affects the windows in
these areas, however, in either direction.
Desperate Measures
Of note, moving up or down a staircase or passing
through an arch in the house does not involve any
dimensional shifting. This effect only applies to door-
ways and windows.
Alien Geometries
D10 Movement Result
1 When the PCs move through the opening,
they appear right back where they started on
the same side of the opening as if they never
went through it.
2 After traveling through the opening, the PCs
appear on the opposite side of the room from
that entrance.
3 A translucent membrane fills the opening. It
feels cold and slimy to the touch. Any damage
inflicted to the membrane pops it, spraying
each creature within 5 feet of the opening
with a disgusting but harmless mucilaginous
liquid.
4 When the PCs go through the opening, roll
1d20 to see which room on that floor they
actually enter (in the event multiple rooms on
the floor share the same number, the GM can
pick which room). If the result is “1” on the
ground floor, this places the party outside the
house at the main entrance.
5-6 No change to movement.
7 When the PCs go through the opening, roll
a d6 and a d20 to determine where they
actually end up. For the d8 roll, 1-4 results
in a room on the ground floor, 5-7 results in
a room on the second floor, while a roll of 8
places them in the cellar beneath the kitchen
(Area 7). The d20 roll determines the room
on that floor (in the event multiple rooms on
a floor have the same number, the GM can
pick which room). If the result is “1” on the
ground floor, this places the party outside the
house at the main entrance.
8-9 When the PCs step through the opening, it
rapidly telescopes forward to form a tunnel
of swirling, chaotic colors. The tunnel is 60
feet long, 10 feet wide, and 10 feet high. If
the PCs retreat back a step, they return to
where they stood outside the opening. If they
continue down the hall, they hear whispers
from unseen voices, feel gusts of wind and
rain, and smell odors such as brimstone and
ozone. If they traverse the tunnel’s entire
length, the characters then enter the room or
area they intended to enter in the first place.
10 The characters appear in the ground floor
foyer (Area 2).
Determining Dimensional Travel. When a creature
or group of creatures passes through a doorway or
window, their movement forms a temporary con-
nection between the place they left and the room in
which they appear. This connection remains for 1
minute. Any creature passing through that doorway
in either direction during this time travels between
27
 those two points. After this time, however, any crea-
ture passing through the doorway must again roll on
the Alien Geometries table (see above).
The PCs can compensate for the alien geometries
within the house by attempting to use their knowl-
edge of arcane secrets to understand and control
these shifts. A successful DC 19 Intelligence (Arcana)
or DC 17 Wisdom (Yog-Sothothery) check before
the PCs pass through a doorway or window means
they can enter the room they meant to enter—the GM
doesn’t roll on the Alien Geometries table. If a PC
fails this check, however, they suffer 7 (2d6) psy-
chic damage. A success in one of these checks also
applies if the party targets creatures or objects on the
other side of a door or window with a ranged weapon
or spell. If a PC has already succeeded on the check
for that doorway, any attacks made thereafter by the
party are unaffected by the dimensional shifting.
Any creature suffering from any form of madness
can ignore the alien geometries of the mansion if they
wish. This means the creature can move from room
to room without rolling on the Alien Geometries
table. The creature’s comrades do not, however, gain
this benefit unless they also suffer from madness.
Finally, a creature with a passive Wisdom (Yog-So-
thothery) of 20 or higher is likewise immune to the
effects of the alien geometries.
Other Creatures in the Mansion. The effects of
the Dimensional Chain also mean that the interior of
the mansion comes into periodic and random contact
with other dimensions. As a result, several alien
creatures have wandered here or found themselves
trapped in the home.
With only a few exceptions, this extra-dimensional,
non-Euclidian movement applies to all creatures in-
side the mansion. For the most part (and to keep the
GM’s workload manageable), the Gamemaster can
assume most creatures encountered inside the house
remain where they are listed in the text. A few spe-
cific creatures and Braiham Tzekes can traverse the
mansion without difficulty. These creatures include:
◊  Braiham Tzekes. His mind has become unhinged,
which combined with his knowledge in the realm
of Yog-Sothothery, allows him to move about his
home at will—he can take advantage of the dimen-
sional shifts to move from any room in the house
to any other room as his movement, except for
the Chapel (second floor, Area B12) as this area
lies within the protection of a hallow effect. If he
hears a disturbance nearby his office (second floor,
Area B9), he’ll investigate. He has full awareness
of when intruders enter his home and where they
are at all times. If intruders cause damage to his
home, he’ll know it. Likewise, if intruders steal or
damage any of his possessions (especially magic
items), he confronts the thieves immediately,
enraged and in no mood for talking. Braiham can
move directly to the intruders’ position no matter
where he is in the house, unless they are in one of
the areas protected by the hallow spell.
28
Desperate Measures
Of note, Braiham can also mentally alter the
dimensional shifts and reality within his home.
He can, for example, temporarily remove a door
where one normally exists, or he can create a door
where one doesn’t exist. For further details, see
his stats in the Appendix (page 77). Braiham has
become permanently tethered to his home; he can
never leave it no matter how hard he tries.
◊  Dimensional shambler. This creature is too
familiar with dimensional movement to fall victim
to the mansion’s shifting effect. It cannot, however,
enter the Chapel (second floor, Area B12) due to
the hallow effect there. For now, it wanders these
halls hunting for prey. It starts this adventure in
the West Wing Front Hall (ground floor, Area
A16). Approximately every 10 minutes of in-game
time, the GM should randomly roll for the room
to which the dimensional shambler moves. Roll a
d6 and a d20; the d6 determines the floor: 1-3 =
ground floor (A), 4-6 = second floor (B). The d20
roll determines the room on that floor.
◊  Spiders. The phase spiders can move from room
to room without difficulty since they travel via the
ethereal plane. The solitary Leng spider in the
mansion, however, lacks this mode of movement
and suffers from the dimensional shifting effect.
◊  Rotting servitors. At Ishvani’s request, the King
in Yellow placed two of its rotting servitors to
guard the mansion’s entrance to the catacombs.
Although these incorporeal creatures can move
through the house without difficulty (other than
the Chapel, second floor, Area A12), they remain
in the Library (ground floor, Area A19) unless
pursuing the PCs.
In addition, a band of undead creatures from another
plane, the Infected, occupy several rooms on the
second floor. While most of their number remain in a
handful of rooms on this level, some of their number
wander the mansion’s hallways in search of new prey.
These undead are still affected by the house’s dimen-
sional shift, but they aren’t aware of the effect—they
operate on instinct more than anything else.
Environmental Conditions
The conditions within the house are far from normal
in several places as described in the text below. Un-
less otherwise stated, however, here are the condi-
tions the PCs find inside the mansion.
Lighting. Much of the house sits in darkness. A
few areas inside have mundane light such as the glow
from coals in a fireplace hearth; these areas are men-
tioned in the text. These coals emit bright illumina-
tion for 10 feet and dim light for another 10 feet.
Some rooms and hallways feature magical illu-
mination from a glow lamp. A glow lamp includes a
thin metal pole, 4 feet tall, mounted at the center of a
round wooden base. The top end of the pole termi-
nates in a polished glass sphere 6 inches in diameter.
The sphere emits magical light that provides bright
illumination out to 30 feet and dim lighting for an
additional 30 feet beyond that. Covering a glow lamp
with thick cloth (such as a tapestry or heavy rug)
blocks it from emitting light. A glow lamp is porta-
ble if unwieldy, weighing 15 pounds. If something
shatters the glass sphere (AC 11, hp 5), it no longer
emits light.
Temperature. Most of the house is cool without
being cold or uncomfortable. A room with a lit fire-
place has a warmer temperature.
Sound. A strange, unpredictable effect fills the
entire mansion. Not only does it make physically
moving from place to place confusing, but it affects
how sound travels. A sound in one room doesn’t nec-
essarily carry to the rooms connected or otherwise
nearby. If any creature produces a loud noise such as
entering combat or casting a spell like thunderwave,
a creature in any room within 25 feet only has a
50% chance of hearing the disturbance. Otherwise,
the noise “appears” in some other part of the house
unconnected to its origin point. For example, a noise
on the ground floor might sound as if it originated in
a room on the second floor.
Doors and Windows. The dimensional shift effect
affects movement into or through the mansion’s inte-
rior (but doesn’t affect the staircases between floors).
This dimensional shift occurs when a creature,
object, or spell effect passes through a doorway or
window inside the house. Thus, if a creature fires an
arrow or chucks a spear into or out of a room, from
their perspective the arrow or spear immediately
vanishes when it passes the threshold—they don’t see
where it reappears. The object reappears elsewhere
in the house as determined by rolling on the Alien
Geometries table.
For spell effects passing through an opening into
or out of a room, the spell either misses as if the
attack roll failed, or the spell simply fails (if it doesn’t
involve an attack roll). If the spell has a visible effect,
the magic appears to vanish the moment it crosses
the door threshold, only to reappear elsewhere in the
mansion.
For example, a PC on one side of a door targets a
creature inside the room with magic missile. Since
this spell doesn’t require an attack roll, the spell
fails to work, wasting the spell slot. In this case, the
spellcaster intuitively knows that something about
the doorway stopped their spell from working. If the
same PC targeted a creature in the room with acid
arrow, they see their spell fizzle upon crossing the
threshold and their attack roll automatically misses—
the acid arrow reappears in some other room and
splashes somewhere harmlessly.
There is an exception to the effects of the dimen-
sional shift on objects and spells: if the roll on the
Alien Geometries table (above) indicates no change
to movement (i.e., no dimensional shift takes place),
then the object or spell isn’t affected by passing
through a doorway. Thus, with the magic missile
Desperate Measures
Familiar Places
If the PCs visited the Tzekes mansion previously
(most likely in Act I near the beginning), they
may be familiar with parts of the mansion and the
hallways connecting them. These areas include the
Grand Foyer (ground floor, Area A2), the Waiting
Room (ground floor, Area A8), and Riya Tzekes’
Study (ground floor, Area A12). This familiarity
grants advantage on Intelligence (Arcana) or
Wisdom (Yog-Sothothery) checks made to figure
out the mansion’s alien geometries (see above).
example, the missiles automatically hit their intended
target, while the acid arrow attack hits its target if the
attack roll succeeds.
The mansion features numerous glass-paned
windows. When a creature outside the house peers
in through a window (assuming they have sufficient
light to see or darkvision), they see the room they are
physically peering into. If a creature outside peering
in through a window watches someone inside the
house throw an object into the room they are viewing,
from their perspective the object disappears—the
viewer doesn’t see where the object reappears. If,
however, a creature inside the mansion looks out
through a window, they instead see a vast dark void
illuminated by silvery or red smoke-like wisps and
distant spots of light resembling stars in the night sky.
When a creature looks through a doorway, they see
into the room that normally connects to that doorway
(assuming the creature can see in those lighting con-
ditions). Only physically passing through the doorway
triggers the Alien Geometries effect.
A. Ground Floor
The areas of the ground floor level are described
below.
A1. Front Entrance
The double doors are fashioned from beautiful
wood. They each feature a brass knocker on the
outside in the form of a ring held in the maw of a
stylized gargoyle.
These thick wooden double doors are unlocked.
A2. Grand Foyer
This foyer with its two-story tall crystal chande-
lier and ornate staircase might ordinarily impress
visitors. Now, however, blood splatters along the
marble floor tiles and walls, as well as shreds of
clothing, detract from the elegance.
The foyer introduces visitors and guests to the ele-
gance of the mansion. It was designed to impress and
give people a moment’s pause.
Lighting. The chandelier hangs 10 feet overhead.
29
 It features hundreds of crystals that together project
magical light. The chandelier provides bright illumi-
nation in a 40-foot radius and dim light for another
40 feet beyond that.
The chandelier is suspended from the ceiling by
a 30-foot silver chain where it connects to a metal
fixture.
Development. Two of the Quicksilvers reached the
foyer during their desperate escape attempt only to
fall prey to a dimensional shambler. The shambler
captured them after a brief but bloody fight, after
which it transported them to its temporary lair in the
West Wing Front Hall (ground floor, Area A16).
A successful DC 15 Wisdom (Medicine) or Intelli-
gence (Investigation) check discerns what happened
in the foyer. Two individuals, bleeding from numerous
injuries, ran into the foyer. Something attacked them
and inflicted serious wounds upon at least one of
them. The attacking creature then took both people
away without leaving a trail of any sort. A successful
DC 12 Wisdom (Survival) tracking check indicates
the attacking creature alternated moving on two or
four limbs ending in wicked sharp claws (as evi-
denced by its bloody prints and the scratches it left in
the marble floor tiles). The tracks suggest a creature
resembling nothing found in nature.
There’s a 10% chance 1d3+1 Infected (page 102)
are in this room at any given time. They attack any
30
Desperate Measures
non-Infected they detect. Once the PCs eliminate this
roving group of the Infected, they won’t run into the
pack elsewhere in the mansion (there are, however,
several stationary Infected on the second floor).
A3. Majordomo’s Quarters
This sparse bedroom includes a simple bed, a
wood desk, and a plain wooden chair. Several sets
of clean servant’s uniforms hang from hooks on
the west wall. Everything appears tidy and orderly.
The Tiarazan elite have a tradition wherein they
show off the number of servants they have in their
household to visitors and guests. This means ser-
vants often have living quarters close to the home’s
entrance, thus allowing them to assemble for display
and to serve the guests’ needs without delay. The Tze-
kes’ majordomo has this room for his personal use
but with the expectation of being on call at all times,
day or night.
The majordomo was absent from the house at the
time everything went wrong. He never made it home,
however, having fallen victim to one of the roving
mobs.
A4. Servants’ Quarters
This room resembles a small dormitory with beds
for some of the household servants. Some of the
beds are unmade or stripped of blankets while
others are still neatly made.
This room serves as a dormitory for the household’s
male servants when they aren’t on duty.
A search of the room turns up nothing unusual.
A5. Servants’ Quarters
By the looks of things, this is a dormitory room
for several household servants or staff. Someone
or something has ransacked the room, leaving the
beds stripped or turned on their side. Clothing lit-
ters the floor along with a half-dozen empty wine
bottles and the bones from a leftover chicken
dinner. A furtive shuffling noise comes from the
southeastern corner of the north room.
Another large dormitory room, this one is a sleeping
room for female household servants. Unlike the other
dormitory (Area A4, above), however, this one has an
occupant.
Creatures. One of the few surviving servants, Essi
(commoner), has barricaded herself behind two
beds in the southeastern corner of the north room.
She spent hours trying to escape the house, only to
give up when she ended up back in her quarters. The
dimensional shifting effect, the unexplained screams
and growls emanating throughout the house, and the
horrific scenes she’s witnessed have left her in shock.
Essi, one of the newest scullery maids, reacts with
fear when she sees or hears intruders nearby, but she
tries to stay hidden rather than flee, especially since
she knows about the house’s weird dimensional shift-
ing. She holds a cast-iron frying pan in both hands
but is too terrified to use it as a weapon.
Investigation. The PCs can coax Essi to come
with them with some reassuring words and a
successful DC 16 Charisma (Persuasion) check.
Intimidation only serves to paralyze her with fear.
Otherwise, she refuses to leave the room. She doesn’t
know what happened or why, and she doesn’t know
where anyone else is. She describes how the doors
in the house “don’t work right” and how “it doesn’t
matter which way you go, it’s the wrong way.”
She doesn’t know the location of the stairs leading
down to the catacombs, but she thinks it is “some-
where by the library.”
A6. Servants’ Dining Room
The room includes a long wooden table covered
with dirty dishes and leftovers from a meal. A
dozen chairs surround the table. Strands of red-
dish material like thick spider webs crisscross the
Desperate Measures
room and obscure the ceiling. The telltale outline
of something wrapped in the strands bulges out
from one corner.
The door along the north wall is covered in
bloody handprints.
This is the servants’ communal dining room where
they take their meals and spend much of their free
time.
Webbed body (trap). The food on the table is ordi-
nary servant fare, several hours old. By the looks of
things, something interrupted the meal. In this case,
a cluster of enormous phase spiders materialized out
of nowhere, sending the servants running in terror.
The spiders captured one servant and wrapped his
paralyzed body in webbing near the ceiling.
Releasing the body from the webbing requires an
attack with a sharp blade that inflicts at least 6 slash-
ing damage, or a flame source that causes at least 4
fire damage. The servant, Natrim, remains poisoned
and paralyzed but conscious. If cured of these con-
ditions, he screams and thrashes in desperate fear,
begging his rescuers to “get them out of me.” The
spider that captured and webbed him also injected its
eggs into Natrim; they are due to hatch within 1d4+1
rounds, while will in turn kill him in a most horrific
manner. Any PC able to see this event must succeed
on a DC 15 Wisdom saving throw or gain a level of
dread. A lesser restoration destroys the implanted
eggs.
Creatures. If the eggs hatch, dozens of Tiny
spiders burst from his torso and form a swarm of
spiders.
Natrim (commoner) is a middle-aged man who
has served the Tzekes for over twenty years. He pos-
sesses considerable knowledge regarding the layout
of the mansion and the habits of his master, Braiham.
Although his familiarity doesn’t help him to navigate
the strange dimensional shifting, he can identify each
room on sight and knows the stairs to the catacomb
entrance lies near the library on the other side of a
secret door.
Investigation. In terms of what happened here,
Natrim can describe the scene. He doesn’t know
what became of the other servants or the spiders.
“I was here with five of the other help, grabbing
something to eat while we could. I wasn’t sure
what was going on, but Master and Milady were
upset, arguing and shouting at each other about
Mistress Ishvani. Everything got worse thereaf-
ter. We heard screams and other noises I can’t
describe.”
“We didn’t know what to do, but we knew
to stay out of the master’s way. There was this
popping noise like a wet sack bursting and these
three spiders—big as dogs they were—appeared.
They attacked and the others ran. I felt something
sharp and burning and then I blacked out.”
31
 A7. Kitchen
Given the counters, cooking utensils, and the
hearth, this was obviously the house kitchen.
Now, however, it resembles a scene out of a
nightmare. Thick, reddish webs fill the room,
connecting walls and floors in a maze of strands.
Dried blood splatters decorate the floor near the
brick hearth while a patch of some tar-like sub-
stance coats a nearby tabletop.
In normal times, the cook and her staff prepared
meals here for the family and for the servants.
The phase spiders tore through here after they ap-
peared in the nearby servants dining room (Area A6,
above), attacking the cook and her three assistants.
The cook fought back with a meat cleaver and inflict-
ed a nasty wound on one spider, although this brave
act cost her her life. The spiders captured and bound
the other three servants and carried them downstairs
to the root cellar where they remain.
Webbing (hazard). Moving through the room pos-
es a challenge (although not to the spiders) due to the
webs. Treat areas in this room as difficult terrain.
Creatures. When the PCs enter the kitchen, the
three phase spiders leave the root cellar to investi-
gate the noise, traveling by means of their Ethereal
Jaunt ability.
Of the three captive servants held in the root
cellar, one has already died from their wounds. The
other two are poisoned and paralyzed but otherwise
unharmed. Unfortunately for them, the PCs may not
know they’re there or be able to enter the root cellar
and rescue them because of the dimensional shifting
effect. Because they are paralyzed, they cannot call
for help or move to make a commotion.
Treasure. A search of the kitchen cupboards
uncovers a hidden stash of expensive, high quality
alcoholic spirits. In all, the staff has squirreled away
nine bottles, each worth 30 gp if sold.
Otherwise, a quick search turns up an unused
healer’s kit and a glass jar containing 145 sp and 32
gp used by the kitchen staff if they needed to run to
market and pick up something for the master and his
family.
A8. Waiting Room
The north room features four plush, ornate chairs,
while the south room holds an additional six
seats. A series of beautiful paintings in gilded
frames, seven in all, decorate the walls.
Visitors wishing to meet with Braiham Tzekes to
conduct business or in some official capacity are
asked to wait in this comfortable room until they are
granted a brief audience with him.
This room remains untouched by the chaos encom-
passing the rest of the house.
Treasure. If the PCs wish to lug big, framed paint-
32
Desperate Measures
ings around the house and find a buyer at some point,
this room has six paintings each worth 3d6 x 50 gp
to an interested collector.
A9. Assistant Steward’s Quarters
A thick fog billows up from the floor to fill this
room.
The second-ranked servant, the steward, inhabited
these austere quarters. They include a bed, desk,
and chair with a few servant uniforms hanging from
hooks on the east wall.
Fog (hazard). The fog is natural, although it orig-
inates from elsewhere and appears here due to the
dimensional shifting effect. Everything in this room is
heavily obscured.
A10. Grand Hall
This grandiose chamber includes two long, wood-
en tables lined on either side by cushioned chairs.
There are two fireplaces here, both cold.
A maze of webbing obscures the entire ceiling
from sight. Other web strands, about five feet
from the floor, stretch from wall to wall. Piles of
humanoid bones and skulls decorate the western-
most table.
On those occasions where the Tzekes family has
held large gatherings or celebrations, they and their
guests assembled in this spacious hall.
Lighting. A glow lamp illuminates the southeast
portion of the room.
Development. When the PCs set off the web net
trap (see below) or else when the spider deems the
right moment for an ambush, read the following text
to them:
A bloated, misshapen spider, its black and purple
mottled torso the size of a horse, descends from
the webbed ceiling and lands on one of the tables
with a meaty thud.
Creatures. A Leng spider (SPCM 342) occupies
this room. It first appeared in the West Wing Front
Hall (Area A16, below), whereupon it encountered
several servants and household guards. It took two
people captive with its Toxic Web and then feasted
upon two other victims. When it left that room with its
captives, it found itself here in the Grand Hall among
another half-dozen victims. So far, it has failed to
escape the mansion and chooses to remain here for
the time being. Until it figures a way to return home,
the spider considers this hall its territory and anything
entering that territory is prey. The Leng spider has an
uneasy truce with the phase spiders occupying the
root cellar below the kitchen (Area A7). It prefers to
hide, waiting for intruders to trip the web net trap or at
least get close enough to ambush from hiding.
 Web net (trap). The Leng spider built a web net
trap (SPCM 342) in the ceiling over the 10-foot by
10-foot area in front of the double entrance doors. A
thin trip wire runs at about ankle level in front of the
double doors. When a creature triggers the tripwire,
the trap goes off.
Treasure. The Leng spider has gathered a few
items from its recent captives and left them piled
beneath the eastern table. This pile includes:
◊  212 sp and 79 gp in loose coins
◊  A
 +1 dagger once carried by a favored household
guard
◊  A heavy crossbow and 10 +1 bolts. This weapon
is three centuries old, does not actually function,
and was on display as a museum piece here in the
mansion. It could be sold to an interested collec-
tor for 300 gp or more. The bolts work just fine
despite their age.
◊  A potion of superior healing
◊  A bronze horn of Valhalla
A11. Exhibition Room
At one time, perhaps, this chamber served as
some sort of exhibit room for the Tzekes to show
off their wealth. Now, however, it has undergone
a radical transformation. The floor has become
mud-covered ground obscured by a thin layer of
greenish mist, and the place feels like an outdoor
swamp rather than an indoor room.
Numerous wooden shelves once lined the
room’s walls, but several collapsed or fell when
the floor transformed to mud. A couple of items
formerly on display lie on top of the ground.
Braiham Tzekes prizes his collection
of rare antiquities gathered from
around the world. While he
keeps the rarest, most
unusual pieces in his
office (second floor,
Desperate Measures
Area B9), he displays the more exotic looking items
in exhibition rooms such as this. This allows him to
give his guests the grand tour and impress them with
his knowledge, refined tastes, and wealth.
There are a few dangers here, some apparent,
some not so obvious.
Lighting. A glow lamp in the northeast corner
provides magical light for this room.
Poison mist (hazard). The greenish mist is
poisonous both via contact and through inhalation.
Any creature entering this room for the first time on
a turn or starting its turn in the room must make a
DC 13 Constitution saving throw. A creature suffers
22 (5d8) poison damage on a failed save, or half as
much damage on a successful one. A creature is
affected even if they hold their breath or don’t need to
breathe.
Thick mud (hazard). The mud is thick, cloying,
and deep. A creature entering this room must make
a DC 14 Strength saving throw or become restrained
by the mud and begin to sink. Each round on its turn
when a creature is stuck in the mud, it sinks 1d3 feet.
The first round a creature becomes stuck in the mud,
it can spend its action to attempt a DC 14 escape
check using Strength (Athletics) or Dexterity (Acro-
batics). Once a creature has sunk 1 or more feet, it
suffers disadvantage on this check. Another creature
can aid the stuck creature by extending a rope or
other object to aid them (e.g., a quarterstaff) and by
succeeding on a DC 10 Strength check. If this check
succeeds, the stuck creature gains advantage on its
escape attempt.
Creatures. Finally, a type of giant constrictor
snake lurks beneath the mud waiting to attack fresh
prey. It can remain hidden in the mud for hours
without needing to surface. If prey enters its domain,
it attempts to constrict
the creature and drag
it deeper into the
mud. If the con-
strictor snake
33
 successfully grapples a target, each round it can drag
its prey another 1d4 feet deeper. The mud pit extends
as deep as 15 feet.
Development: If the PCs search through or, worse,
steal any of the items from this room, Braiham
Tzekes knows about it and knows the party’s location.
He teleports to a location south of the double doors
leading to the Grand Hall (area A9) and attacks
without warning.
Treasure. The items in sight worth grabbing
include the following:
◊  Animated shield
◊  Flask with one application of universal solvent
◊  Robe of useful items
◊  Potion of diminution (unmarked as to its contents)
◊  A small, hand-carved wooden statue of Irisia,
Goddess of Death. Its magic mends any damage
inflicted on it overnight.
◊  A silver chalice that, when the command word
etched on its stem is spoken, fills with a fine vin-
tage of wine. It can do this three times per day. A
collector would pay 250 gp or more for this item.
◊  Small painting of Ishvani Tzekes as a young girl.
She appears pale and sickly. The painting has a
disturbingly lifelike three-dimensional effect. Her
eyes seem to follow those looking at her portrait.
34
Desperate Measures
A12. Study
This large study includes a long wooden desk
stacked with multiple bound books. A fireplace
along the east wall emits a faint glow from its
embers. A glow lamp in one corner casts a warm
yellow light.
The lady of the household, Riya Tzekes, used this
study as her private office. While Braiham spent most
of his time and energy seeking and buying antiq-
uities, she ran the mercantile business and kept it
profitable despite her husband’s excessive spending
habits and lack of attention to profitability.
The books on the desk and the papers littering the
floor are account records. While most of the records
are for the Tzekes mercantile business, some of them
are for items purchased by Braiham on one of his
many buying trips. A PC with a few hours of time and
a successful DC 16 Intelligence (Investigation) check
can discern that while the mercantile side paid its
proper taxes and followed legal codes, the records of
Braiham’s business dealings broke numerous laws
and frequently avoided taxes. Although it may not
matter given current events, this information could
be used to blackmail the Tzekes family (i.e., Riya).
Riya Tzekes was last in this room a little more than
an hour ago. She made another attempt to escape
the house but so far remains trapped. At
present, she can be found in her eldest
daughter’s room on the second
floor (Area B15, below).
Lighting. A glow lamp illumi-
nates this room.
Development: If the PCs
search through or steal any
items from here, Braiham
Tzekes knows about it and
knows the party’s location. He
teleports to a location south
of the double doors leading to
the Grand Hall (Area A9) and
attacks without warning.
Treasure. A hidden panel
exists in the bottom of the
desk [DC 16 Wisdom (Per-
ception) check to locate]. It
is locked; Riya has the key.
A PC can pick the lock with
a DC 13 Dexterity (thieves’
tools) check. Inside is a space
holding the following:
◊  375 gp in a leather pouch
◊  118 pp in a velvet pouch
◊  Five 100 gp tourmaline
gems in a small wooden box
◊  Two potions of healing
◊  A stoppered black vial containing two doses of
assassin’s blood poison
◊  A beautifully crafted hand crossbow worth 200 gp
to a collector, along with a pouch containing 10 +1
bolts for it
◊  A potion of clairvoyance
◊  A potion of mind reading
A13. East Wing Front Hall
This hall looks like it may have served as a room
for holding dances and similar events. The room
is empty and shows no signs of recent use.
Many years ago, the Tzekes held dances and other
fetes in this grand chamber. It hasn’t seen use for
more than a decade. Nonetheless, the servants have
kept it clean. It remains empty to this day.
A14. Waiting Room
Wood display shelves line the north and south
walls of this room. Each shelf holds some trinket,
book, statue, or other item as an obvious show of
wealth and taste.
Braiham Tzekes hates being interrupted while study-
ing in his library (Area A19, below). Thus, guests
were sometimes asked to wait here until called for.
Since this room lacks furniture, the visitors have to
remain standing as they waited.
This room remains unoccupied.
Development: If the PCs search through or steal
any items from here, Braiham Tzekes knows about it
and knows the party’s location. He teleports to a lo-
cation immediately north of the double doors leading
into this room and attacks without warning.
Treasure. The items on these shelves are pretty
to look at but do not represent the choice pieces of
Braiham’s collection. Instead, these trinkets and bau-
bles are those that might impress an ignorant guest
but otherwise hold but minor value to the master of
the house. A few such items are described below,
along with any value they might hold to an interested
collector.
◊  A bronze centaur statuette (75 gp)
◊  A sacrificial dagger from the early period of the
faith of Irisia (150 gp)
◊  A silver necklace with a ruby pendant, thought
by the ancient tribe that first settled the city to
provide good luck to the wearer (250 gp for the
materials alone; 400 gp for an interested collector)
◊  An elven chain shirt
◊  A demon head carved from obsidian (worth 30 gp
by itself, 125 gp to an interested collector)
◊  The complete five-volume set of Albrecht Kanter-
ach’s Cosmology of the Outer Gods (fascinating
Desperate Measures
reading material but completely inaccurate and
sensationalist, worth 200 gp as a set to a collector)
A15. Storage Room
Boxes, crates, and barrels occupy this room in a
haphazard manner. There are old curtains, some
broken chairs, an unused desk, piles of dusty
linen, and other mundane objects. A furtive noise
comes from the back of the room.
Various supplies and unused household items are
stored here in this room.
Creatures. A guard, Matthias, and a house maid,
Serena (commoner), hide at the back of the storeroom
behind several stacked crates. Both fled the appearance
of the Leng spider when it appeared in the Grand Hall
(Area A10, above) and ended up here. Given that they
didn’t expect to end up in the storeroom after leaving
the West Wing Front Hall (Area A16, below), they
decided to hole up here and wait for help to come.
The two try their best to remain silent when the
PCs first enter the room until they can decide wheth-
er it is safe for them to show themselves or not.
Although Matthias and Serena are reluctant to
leave the relative safety of this room, they understand
no other help may be forthcoming. They’d rather
take their chances with the party than alone. While
Matthias carries a spear and knows how to use it,
Serena has no weapon or any combat training. They
can provide terrifying details about the Leng spider if
the PCs haven’t already encountered it.
While both are relatively new additions to the staff,
Matthias knows the overall layout of the house (other
than the changes caused by the dimensional warp).
He knows the location of the stairs leading down
to the catacombs, although he doesn’t know exactly
where the secret door to get there lies.
A16. West Wing Front Hall
The remnants of a slaughter stain the walls and
floor of this room. Something large and powerful
made a quick meal out of at least two or three
victims, although the degree of bloody carnage
makes it difficult to tell. Some of the severed
body parts and bloody chunks remain wrapped in
thick webbing.
The family members often use this spacious, open
room to practice fencing, martial arts, or engage in
physical exercise. Otherwise, it remains empty and
unused.
Creatures. The dimensional shambler (SPCM
304) starts in this room when the PCs first enter the
mansion. If enough time has elapsed since the PCs
entered the mansion, it may well have relocated.
The bloody remains and carnage here originated
with the Leng spider when it first entered the house.
35
 A17. Guest Room
This Is a spacious and comfortable bedroom that
includes a bed with blankets, a pair of book-
shelves, a desk with chair. The fireplace shows no
signs of recent use. The books lining the shelves
are nothing exceptional or rare.
This is one of the many available guest rooms the
Tzekes keep at the ready. In the past few years,
however, as Braiham Tzekes has become obsessed
over Mythos-related relics and lore, he has become
disinterested in formal dances, parties, and feasts
typical of the wealthy elite in Tiarazan. Thus, many
guest rooms in the mansion have seldom seen use.
Ethereal Warp (hazard). A severe dimensional
warping here has shifted this room out of phase such
that the floor, wall, and furnishings are considered
incorporeal. This place also hovers on the border of
the ethereal plane, which in turn borders on a hellish
plane.
An ethereal creature in this room can stand on the
floor, remove books from the shelves, lie down in the
bed, and otherwise interact with the room’s physical
features if they so choose, although they can also
pass through the floor or walls if they choose.
When a non-ethereal creature enters the room,
they find everything in the room incorporeal. The
creature cannot stand on the floor since it doesn’t
exist for them. The creature’s feet go through the
floor as if it wasn’t there and they continue sinking
through. A creature can likewise move through a wall
without difficulty.
Once a creature moves through a wall or floor so
that their head passes through, they can see what
they’ve fallen into. Read or paraphrase the following:
You float weightless in a mist-filled gray void.
You can look back and see into the room you just
left, slowly dwindling farther and farther away.
Ahead of you at an indeterminate distance stands
a shimmering curtain of dim light. You can see
through the curtain as if it were a frosted window,
peering into another world beyond. Although the
images are hazy and blurred, this other dimension
appears to have a fiery sky, ground covered in ash,
and a surface pitted with craters.
A creature able to levitate or fly can avoid passing
through this room’s walls or floor if they choose.
Incorporeal creatures likewise can avoid passing
through the walls or floor. Other creatures entering
this room, however, automatically sink through the
floor and into the ethereal border. If the creature does
nothing to reverse its movement, in 4 rounds it enters
the alternate dimension seen through the curtain—in
this case, one of the levels of the hells.
Within this room or in the ethereal border, a
creature can move by willing themselves to do so.
This requires trial-and-error to learn. As an action,
36
Desperate Measures
the creature can attempt a DC 15 Intelligence or Wis-
dom check. If they fail this check, they continue drift-
ing toward the hell dimension. If they succeed, they
arrest their movement and cease drifting away from
the guest room. After a creature succeeds on this first
check, they can will themselves to move in any direc-
tion—including out the door from this room—with a
successful DC 10 Intelligence or Wisdom check.
A creature that fails to make the first DC 15 check
four rounds in a row falls into the hell dimension.
The creature can go back into the ethereal border if
they wish, but they cannot return to the guest room
until they succeed on the DC 15 check and learn how
to move by the power of their mind.
Creatures within the guest room or sinking
through the ethereal border can assist one another
in their escape efforts. A PC could, for example,
toss a rope at another creature they can see to keep
them tethered together. Spells such as levitate, fly,
and even feather fall allow a creature to control its
movement here.
Creatures. A creature in the hell dimension for
more than 2 rounds attracts the attention of 1d2
barbed devils eager to greet the newcomer.
A18. Guest Room
Judging by the looks of the hearth, this bedroom
hasn’t seen recent use. The room features elegant
furniture including a bed, desk, and chair.
This is another rarely used guest room.
A19. Library
What once may have been an impressive library
filled with thousands of books has become a
catastrophe. Powerful winds whip through the
room. Many of the books and scrolls, no doubt
blown from the shelves by the tempest, paper the
floor.
Most striking of all, a thin, silvery chain rises
from floor and connects taut to the ceiling. Where
this chain meets the ceiling, it passes through a
vortex of swirling red and green energy.
This library represents one of Braiham Tzekes’ great-
est achievements and source of pride. Although he
keeps his truly rare, exotic, and dangerous tomes and
scrolls in his office (second floor, Area B9), here he
has assembled an impressive personal book collec-
tion.
Because Braiham so prized this room, when his
daughter, Ishvani, needed to anchor this end of the
dimensional chain, she chose this place knowing
the magic involved would unleash powerful magical
winds that would damage or ruin many of the books
in the collection.
Of note, the dimensional shifting effect does not
affect this room (although it is possible that the
shifting effect deposited the PCs here from another
room). This means when a creature enters the south- Unhooking the Dimensional
ern doorway into this room, they actually enter the Chain
library. Likewise, if a creature leaves the library, they Given the fact that disconnecting the dimensional
enter the hallway to the south. This holds true for any chain cuts the PCs off from the Cradle of Myths
creature passing through the secret door along the amphitheater and being able to deal with Ishvani
east wall. Tzekes, this could lead to an abrupt end to the
Lighting. The glow lamp provides bright light in adventure. The GM should feel free to drop
a 30-foot radius and dim light for another 30 feet any hints or clues as necessary, subtle or blunt,
beyond that. suggesting how this action might be a bad idea.
An energy vortex exists in the place where the For example, if a PC starts to cast dispel magic on
dimensional chain connects to the ceiling. The vortex the anchor, the entire mansion rumbles and shakes,
emanates bright light for 30 feet and dim light for an- much like a ship being moved in a strong current.
other 30 feet beyond that. Of note, the room’s ceiling The PCs might dare to hope that by severing this
height is 20 feet. dimensional connection that they trap Ishvani on
Development. This room contains several ele- another dimension and save Tiarazan from the King
ments for the PCs to deal with, some obvious and in Yellow’s influence. This is wishful thinking. Once
some less so. merged, Ishvani and the King in Yellow can easily
Strong winds. A constant, powerful wind blows return to Tiarazan.
through the vortex and into the library. Ranged weap- If, despite the GM’s warnings and strong hints,
on attacks in the room suffer disadvantage on their the characters disconnect the dimensional chain,
attack rolls. In addition, any creature attempting to they may need to undertake an abrupt quest to find
fly in this room (unless incorporeal) must make a DC a sufficiently powerful spellcaster to help them
15 Strength saving throw for the first time on its turn reach the dimension to which they must travel—
or if it starts its turn in the library flying. On a failed assuming the Tzekes mansion returns to its original
save, the creature is knocked to the floor prone. place. If they are too late, they may have to face the
Dimensional chain. Melded into the room’s floor fully formed avatar of the King in Yellow, who has
at this point is one end of the dimensional chain returned to Tiarazan in triumph with a new army of
(page 108), placed here by Ishvani to form a dimen- ten thousand undead—a battle they cannot hope
sional connection between this plane and the one to win.
containing the Cradle of Myths amphitheater. This As a last resort, if the players are the sort that act
end of the chain terminates in a miniature-sized ver- recklessly no matter what clues they receive, the
sion of a metal boat anchor. The anchor’s claw bites GM can simply decide the anchor end of the chain
deep into the wood floor. cannot be affected by dispel magic.
Removing the anchor from the floor requires either
speaking the command word (which Ishvani knows)
ture moves more than 120 feet from the vortex, they
or by using dispel magic on it with a successful DC
lose sight of it and become forever lost in this gulf
18 ability check using the caster’s spellcasting ability.
between dimensions.
If any character wishes to discern what might hap-
The realm beyond the vortex appears like a black
pen if the dimensional chain is disconnected at either
gulf of space with dozens of floating portals (they
end, they can attempt a DC 10 Intelligence (Arcana)
resemble closed stone doorways) in sight. This end
check. On a success, the character understands
of the chain connects to one of these portals—the
that unhooking the anchor end of the chain breaks
dimension containing the amphitheater.
the Tzekes mansion from its planar connection in a
The portals cannot be opened from this side. This
matter of minutes (within 3d6 minutes to be exact).
end of the chain can be disconnected from its portal
Once this occurs, the mansion has a chance (but no
by the same means described above for disconnect-
guarantee) of returning to its original place on the
ing the other end.
material plane. Once the dimensional connection is
Rotting servitors. The King in Yellow provided Ish-
broken, this also means there’s no way to reach the
vani Tzekes with two rotting servitors (page 106) to
Cradle of Myths amphitheater.
use as she saw fit. She placed these creatures here to
The other end of the chain passes through the
deal with any intruders that attempt to interfere with
vortex, and where it terminates, it cannot be seen
the dimensional chain or that try to pass through the
from within the library. A creature can climb through
secret door on the east wall (Area A20). The servitors
the energy vortex at the ceiling and enter a nexus of
attack any other creatures entering this room. Because
many dimensions.
they are only visible with truesight, the PCs aren’t
Energy vortex. The creature passing through the
likely to see them when they first enter the library.
nexus must succeed on a DC 17 Wisdom saving
Treasure. If the PCs spend 10 minutes doing a
throw or suffer the effects of the confusion spell for
cursory search of the room, they find a few items
1 minute and gain 2 levels of dread, which last until
worth grabbing, including:
the creature returns to its home plane. If the crea-
37
Desperate Measures
 ◊  A
 spell scroll with the following spells: detect
magic, levitate, silence.
◊  A
 spell scroll with the following spells: healing
word, enhance ability, lesser restoration.
◊  One set of eyes of minute seeing.
A20. Entrance to the Catacombs
The life-size statue in the northern end of this
narrow room depicts an older human with long,
flowing hair and beard, clutching a thick tome in
his right arm. A lit glow lamp next to the statue
illuminates the entire room.
On the south end, a set of stone steps de-
scends into the darkness.
A secret door connects the Library (Area A19, above)
to the steps leading down to the
catacomb entrance. This
door is located by pressing
a hidden panel on the
left side of the fireplace’s
mantlepiece. When
this panel is
trig-
38
Desperate Measures
gered, the fireplace sinks into the ground for 1 min-
ute before rising back into place.
As with the Library (Area A19, above), this room
is unaffected by the dimensional shifting. This means
a creature can pass through the secret door or take
the staircase down and end up where they expect to
end up.
Lighting. A glow lamp provides bright light to this
entire room.
A successful DC 15 Wisdom (Yog-Sothothery)
check on the statue in the north corner identifies
Nodens, an Elder God. Braiham Tzekes often be-
lieved he was protected from harm by this Elder God.
The staircase descends 15 feet and ends in a stout
wooden door that can be locked or unlocked from
this side.
Secure room. Beyond the door is a 10-foot-square
stone room. An ornate wooden door with bas relief
symbols of the Tzekes family crest carved into it,
dominates the room’s south wall. This door has a
brass handle to open it. It can be locked and un-
locked from this side. After the PCs make sure the
door is unlocked and when they attempt to pull it
open, read or paraphrase the following:
You tug and pull on the door but it refuses to
budge. It isn’t locked and, since it opens toward
you, but you don’t see anything blocking it.
This door, a relic enchanted with pow-
erful magic, can only be opened by
means of the key or by dispel
magic; in the latter case,
the caster must first
succeed on a DC 20
ability check with the
caster’s spellcasting
ability, after which the
door remains unlocked
for 10 minutes.
The pass phrase to
open this door can be changed by any member of the
Tzekes family, which Ishvani did on her way through
it last. The pass phrase to open the door is a line
from The King in Yellow play, “Strange is the night
where black stars rise.” The copy of this play can be
found on the second floor in Ishvani’s secret vault,
the northernmost part of Area B20.
If the PCs use brute force to hack their way
through the door, it has AC 16, 200 hit points, resis-
tance to bludgeoning and slashing damage from non-
magical weapons, immunity to piercing damage from
nonmagical weapons, and immunity to cold, thunder,
poison, and psychic damage. For the purpose of
breaking through the door, treat each combat round
as 1 minute instead of 6 seconds.
Second Floor (B)
The areas of the second floor are described below.
B1. Second Floor Landing
The staircase from the ground floor leads up onto
this landing. Several nearby rooms surround the
landing, and the hallways leading to each of the two
wings open from here.
Polished wood balusters support a mahogany
balustrade surrounding the landing.
The chandelier suspended over the ground floor
grand foyer (see Area B2, below) hangs from a thick
silver chain that leads to the ceiling over this landing.
Two sets of decorative plate armor stand in the
corners along the south side of the landing.
Creatures. There’s a 30% chance that a wandering
cluster of 1d3+1 Infected (page 102) are somewhere
on this landing. They attack any intruders they see.
Once the PCs eliminate this roving group, they do not
encounter them elsewhere in the mansion (although
there are other Infected on this floor, see below).
B2. Apothecary
Wooden shelves filled with jars, flasks, and bottles
line the walls of this room. A workbench along
the south wall features all the tools and glassware
needed by an apothecary.
The house’s apothecary used this room to see pre-
pare tinctures, salves, elixirs, and other curatives for
the family and the household servants. If a family
member required more serious help, such as for an
illness or a broken limb, the Tzekes paid one of the
local priests to come to the house and perform the
healing. For lesser complaints and for any health
problems involving the servants, the apothecary
provided minor cures.
Creatures. The apothecary, Rynnmar (commoner),
has remained holed up here in his office ever since
things took a strange turn at the mansion. He became
aware of disturbances outside his door, including shout-
ing and then a scream from somewhere nearby. When
he left the room, Rynnmar somehow found himself in
one of the closets (second floor, Area B5) instead of
the landing outside his office. While he attempted to
figure out what happened, he peered out the door at yet
another disturbance and witnessed several household
servants spattered with blood and chasing a pair of the
household guards and then biting them to death. He
fled from the closet only to wind up back in his office.
He’s remained there ever since, too afraid to leave.
Rynnmar has suffered a shock and has struggled to
recover. For now, he can only stare into empty space
and drool. Given time, he’ll recover his mental facul-
ties, but for now he can’t communicate, understand
other people, or defend himself.
The back room holds Rynnmar’s most expensive
and difficult-to-obtain ingredients. He keeps it locked
when not in use. Although a PC can pick the lock
with a successful DC 14 Dexterity (thieves’ tools)
check, Rynnmar still carries the key.
Desperate Measures
Treasure. The room contains a variety of herbs,
powders, distilled essences, and the like on its shelves.
The apothecary is well-stocked with all manner of
ingredients, some of which are quite exotic or rare.
A PC with an alchemist’s kit t can create 4 makeshift
curatives if they spend 15 minutes doing so and make
a successful DC 13 Intelligence (alchemist’s supplies)
check. If the PC succeeds, each curative restores
1d4+1 hit points when consumed. Enough supplies
are on hand to create up to eight of these curatives.
The ingredients in the locked closet include some
that are dangerous. A PC could, for example, use
these ingredients to whip up a dose of poison if they
spend an hour working and succeed at a DC 16
Intelligence (poisoner’s kit) check. Suggested poisons
include assassin’s blood, essence of ether, or truth
serum.
In addition, one shelf at the back of the closet
holds the expensive and more potent curatives, used
primarily for the family but also for a beloved servant
in certain circumstances. These potions include the
following:
◊  4 potions of healing
◊  3 potions of greater healing
◊  1 potion of superior healing
◊  1 elixir of health
◊  1 potion of vitality
B3. Upstairs Servants’ Quarters
This room once served to house the upstairs
service staff. Several individuals, some dressed
as servants, others as thugs or guards, stand in
the middle of the room facing in various direc-
tions. Their clothes have suffered numerous rips
and tears, many of which are covered with dried
blood.
Four similar rooms once served as the sleeping area
for the upstairs servant staff. They have since be-
come the habitation area for several of the Infected.
These Infected are in addition to the roving pack
that can be encountered on the ground floor (the
Grand Foyer, Area A2), the second-floor landing
(Area B1), or outside the Chapel (second floor, Area
B12).
Creatures. Each of these rooms has 1d3+1 Infect-
ed (page 102). These creatures respond only to visual
and auditory stimuli; otherwise, they stand stationary
in a torpor. When the PCs open a door to one of these
rooms, there’s a 25% chance the pack inside re-
sponds, charging to the attack. Of course, if any of the
Infected within one a room pass through the doorway
(such as to chase after the PCs), they experience the
dimensional shift effect. The GM should randomly
determine the area of the mansion that pack appears
and take note of this location.
If a pack doesn’t respond to something, they
39
 remain in their torpor state inside the room. If any
creature enters that room, however, they automatical-
ly react and attack.
Once a pack of Infected has left its room and ap-
peared elsewhere in the mansion, they remain in that
area until some other stimulus triggers them again.
B4. Luxurious Suite
This spacious L-shaped bedroom boasts some
fine quality furniture, handsome paintings mount-
ed on the walls, and a luxurious rug covering the
floor. Five people stand motionless in the middle
of the room, facing one another. It looks like
they were once servants or guards, but now their
uniforms are stained with blood and tattered in
places.
This suite served as a guest bedroom for good
friends of the family. It now includes a small pack of
the Infected.
Creatures. This room has five Infected (page 102).
There’s a 25% chance the pack responds when they
see or hear the PCs outside their room, in which case
they charge to attack. If they pass through the door-
way to pursue the PCs, they reappear in a randomly
determined location (see the Alien Geometries table,
above) where they remain until another stimulus
presents itself. If a PC or creature (other than one of
the Infected) enters this room, these undead auto-
matically attack.
B5. Storage Closets
These rooms each contain spare linens, blankets and
other bedding, unused furniture, and rolled-up rugs,
as well as brooms, mops, and items necessary to
keep such a large mansion clean.
B6. The Baths
An oblong marble tub occupies each corner of
the room. A small stool equipped with a small
flask, a pumice stone, and a scraping stick sits
next to each bathtub.
One of the tubs remains filled to the brim
with water. A considerable quantity of water,
likely splashed from this tub, leaves the ceramic
floor tiles wet. Clothing sits neatly folded on
the stool.
As another ostentatious display of wealth and
influence, the Tzekes had this room constructed of
ceramic tile and furnished with four large marble
tubs. These tubs magically fill with cold, warm, or
hot water when the command word (etched on a
bronze plaque near each bathtub) is spoken, and then
drained of water when the word is repeated.
The bathtub in the northwest corner remains filled
with water now grown cold. The water is tinted red
from blood. A young man lies drowned on the tub
40
Desperate Measures
bottom, his mouth and eyes wide open as if in shock.
He wears a jeweled ring on each finger. His fine
clothing, indicative of a wealthy person or a noble,
lies folded on the nearby stool.
Creatures. In addition to the drowned man (a
frequent guest of the Tzekes), the water contains
a water weird pulled here when the dimensional
shifting affected the mansion. It attacks any creature
reaching into the tub.
Treasure. Each of the man’s ten rings is worth 100
gp. The folded clothing is expensive and high quality,
as befits his aristocratic status. One of the pockets
holds a tiny wood snuff box. This box contains three
pinches of snuff, which have the beneficial effects of
restorative ointment.
B7. Meeting Hall
This Is a large meeting hall with a long, wooden
table lined with chairs. Three of the Quicksilver
gang members, ragged and covered in cuts and
scrapes, sit on the floor near the north fireplace.
Strangest of all, you hear the sounds of thou-
sands of crickets or similar insects emanating
from somewhere in this room.
When the family needs to conduct business rather
than entertain guests, they often do so in this hall.
Lighting. A glow lamp along the east wall provides
the room’s only light.
Creatures. The three thugs are the only survivors
of the dozen of their faction who were in the house
as guards and helpers to the Tzekes family. They’ve
watched their other comrades be attacked by giant
spiders, an enormous rotting hound, and crazed
house servants. They aren’t in any condition to fight
the PCs.
They caution the characters to avoid going near
the rooms around the second-floor landing (Area B1,
above). An unknown number of violent cannibalistic
creatures has taken over the rooms nearby. They run
fast, bite hard, and feel no pain.
The sounds of crickets or other insects originate
not from within this room, but through the north and
east walls. If the PCs take a moment to listen, they
also catch other noises such as wind blowing through
trees and the distant howl of a wolf.
Development. Following the source of these nois-
es leads to the north wall and the east wall. A crea-
ture can pass through these walls in either direction
as if they were incorporeal. Beyond these walls lies
a dark and brooding forest choked with pale vines
and spiky underbrush. Once inside this forest, the
sounds grow more pronounced and closer. This
forest exists on another plane currently connected
to the mansion.
If a character succeeds on a DC 15 Intelligence
(Arcana) or Wisdom (Yog-Sothothery) check, they
surmise the forest exists on a different plane from
their own and its connection to the mansion exists
for only a brief time. From the forest side, the wall
through which the PCs entered this realm flickers
with a silvery light that grows dimmer by the mo-
ment.
Should the characters enter more than 100 feet
deeper into the forest, they discover a half-dozen wolf
carcasses picked clean of flesh within the past hour.
The incessant noise of insects grows ever louder and
closer. If the PCs remain in the forest for more than
1 minute, three beetle swarms scuttle down from
the surrounding trees and rush toward them. These
swarms attack any living creature in the vicinity.
The dimensional connection between this bee-
tle-infested forest and the Tzekes mansion weakens
by the moment. Within 10 minutes after the PCs
enter this alien dimension, the connection between
the two planes disappears. When this occurs, any
PCs still on the forest side are trapped on this plane
and cannot return to the mansion.
B8. Master Bedroom
The elegant luxury and handsome furniture of this
vast bedroom must belong to the master and lady
of the house. The room includes a curtained bed
area, a large closet, a heavy wooden round table
with four chairs, and several bookshelves. The
fireplace still emits some heat and orange light
Desperate Measures
from its glowing embers. In addition, two magical
lamps keep the rest of the room well-lit.
Braiham and Riya Tzekes share this enormous bed-
room, although Braiham prefers to sleep during the
day and his wife sleeps at night. The room contains
expensive furniture, floor rugs, and other accommo-
dations appropriate to a wealthy family.
Lighting. Two glow lamps illuminate this room.
There are hot embers in the fireplace that provide
bright light for 10 feet and dim light for another 10
feet beyond that.
Creatures. The large floor rug in front of the fire-
place is a rug of smothering. It doesn’t attack unless
ordered to do so by Braiham or Riya Tzekes, neither
of whom are here at present. In addition, a pair of
crossed swords on display over the mantlepiece
are two flying swords, which do not attack unless
ordered to do so.
Investigation. The centermost bookcase on the
south wall has a small stone gargoyle statue serving
as a bookend (a PC notices the object with a DC 15
Wisdom [Perception] check). A successful DC 12
Intelligence (Investigation) check reveals the statue
is mounted to the shelf and that it can be rotated
clockwise. Doing so unlocks the bookcase with an
audible click and rotates it open, granting access to
Braiham’s Secret Office (Area B9, below). The door
41
 on the other side is obvious and swivels open with a
good push.
Treasure. This room contains considerable
wealth, all of it in the form of furniture. The bookshelf
on the north side of the fireplace, however, contains
a small, locked iron box (DC 12 Dexterity [thieves’
tools] check to open) containing 3 potions of healing
and a vial with two doses of Selenine (SPCM 128).
B9. Secret Office
This office features a fireplace with bright coals
still burning. There is an ornate desk with a
high-backed chair. Tall bookshelves overloaded
with books and stacks of scrolls line the walls.
An impressive metallic statue of a dog stands at
attention in front of the fireplace.
When not in his library (first floor, Area A19),
Braiham Tzekes spent his time here where he could
read, think, and scheme in private. No one else in the
household was ever allowed in here, although this
room’s existence wasn’t a well-kept secret among the
servant staff.
If the PCs rummage through, damage, or steal any
of Braiham’s possessions in the mansion, he immedi-
ately reacts. Since he knows where intruders are, he
uses the house’s alien geometry to appear near the
party’s location, at which point he attacks. If, however,
the PCs have treated
42
Desperate Measures
Braiham’s home and possessions with respect and
not stolen anything, the PCs can find Braiham here.
Lighting. The fireplace lights the entire room with
bright light. The glow lamp also provides bright light.
Development. If found here, Braiham Tzekes re-
sponds to intruders with polite annoyance. Assuming
he’s had past dealings with the PCs, he doesn’t imme-
diately attack them but tries to put them a bit at ease.
The best way to keep him from attacking (at least
for a brief moment) the PCs is for them to prey
upon his arrogance, pride, and intellect. His greatest
vulnerability involves his daughter, Ishvani. He knows
her actions have brought about the downfall of his
family, ruining their reputation and poisoning their
name for generations. Any mention of Ishvani causes
Braiham to flinch; a successful DC 12 Wisdom (In-
sight) check ascertains this spark of anger each time
someone mentions her.
If the PCs engage Braiham in conversation, he
rambles on about the King in Yellow, the source re-
sponsible for corrupting one daughter and murdering
another. Read or paraphrase the following:
“This so-called King in Yellow… that damned, ac-
cursed play—I wish I’d never bought it, let alone
brought it into my house. The King in Yellow ru-
ined me through my daughter. Perhaps I was the
target all along? It corrupts everything it touches.
Everything. Even its most faithful minions end up
as undead servitors, tethered to their master and
all but invisible to the eye. This
pack of undead accompa-
nies their foul master ev-
erywhere it goes. You can
sever the cord between
them, ending them, if
you possess a weapon
forged with magic.”
After he mentions
the need for a magic
weapon, his expres-
sion changes to one of
intense, focused anger—
focused against the PCs.
He rants at them and calls
them villainous thieves.
Once this occurs, Braiham
attacks the party.
If the fight goes poorly, Braiham
retreats by traveling to any part of
the house at will (page 77). He only
retreats if he needs a moment to recu-
perate, after which he launches anoth-
er attack against the party. He favors
hit-and-run attacks with spells,
preferably when the characters
face another threat at the
same time. He continues
these attacks until either he kills the intruders or they
kill him.
Creatures. In addition, the metallic dog is a steel
defender that obeys Braiham’s commands.
Treasure. This room contains some of Braiham’s
most prized relics and antiquities collected over the
past several years. These items include:
◊  A Bokrug egg (SPCM 123)
◊  Leng glass (SPCM 126)
◊  A small wood box containing three doses of Pluto-
nian drug (SPCM 128)
◊  The Book of Dzyan (SPCM 133)
◊  The Eltdown Shards (SPCM 135)
◊  Revelations of Gla’aki (SPCM 136)
◊  The Zanthu Tablets (SPCM 137)
◊  A small iron chest containing a bag of devouring
◊  An efreeti bottle
◊  A gem of seeing
B10. The Hound Awaits
A pair of mastiffs sit on the floor at the end of the
hallway. Judging by the stench of rot lingering in
the air and the patches of exposed muscle visible
through missing chunks of hide, they aren’t in
good health or of a good disposition.
The family mastiffs, Tusk and Fang, used to spend
much of their time downstairs near the Kitchen and
the Great Hall on the ground floor. After the mansion
underwent the dimensional shifting, both hounds
encountered a group of the Infected. These creatures
attacked the mastiffs, biting them both several times
while the dogs fought back. Unfortunately, the two
mastiffs became Infected. After doing some hunting,
Tusk and Fang ended up lying down here to finish
consuming their latest victim.
Creatures. If the two Infected mastiffs (page 103)
hear noise nearby (any part of the adjoining hallway),
they investigate. The dogs attack intruders on sight,
driven by the disease they carry to spread their conta-
gion as much as possible.
Of greater concern, a hound of Tindalos (SPCM
334) found its way into the mansion and has, in a
sense, “adopted” Tusk and Fang, forming an im-
promptu pack. If the PCs engage in combat against
Tusk or Fang, the hound of Tindalos attacks. (It is
immune to the disease carried by the two dogs.)
There is a second hound of Tindalos elsewhere
in the mansion. Each round the other hound spends
in combat, there is a cumulative 20% chance of this
second hound arriving to join in the fight. If the PCs
haven’t encountered the first hound and the two
mastiffs, the GM can create an impromptu random
encounter with the second hound elsewhere in the
mansion.
Desperate Measures
B11. Menagerie in Miniature
Display shelves line most the walls in this brightly
lit room. Although many of the shelves remain
bare, several of them hold tiny cages with metal
bars. A lifelike minute figurine stands within each
cage, motionless.
Braiham Tzekes collected many things from distant
lands. For a time, he enjoyed collecting unusual
creatures miniaturized and placed in stasis within a
tiny cage. Each time he brought home one of these
monsters, he added it to his collection on the shelves
of this room.
Lighting. Two glow lamps illuminate this room in
bright light.
Creatures. In total, there are nine Tiny wire cages
on the shelves. Each holds a different miniaturized
creature held in stasis. The cage door is locked with a
tiny lock for which Braiham holds the key. Unlocking
the extremely small and quite complex lock on one
of these cages requires a DC 20 Dexterity (thieves’
tools) check.
It is possible to grab the creature within the cage
and remove it without danger. While miniaturized
and in stasis, the creature cannot be harmed or
affected by any magic. If, however, someone casts
dispel magic on the creature and succeeds on a DC
18 spellcasting ability check, this ends the stasis and
restores the monster to its full normal size where it
stands.
When freed, the monster’s likely first reaction is
to attack any nearby creature. Of the creatures, only
the lamia may consider reasoning with the PCs in
a civilized manner after its release. Most monsters,
however, aren’t inclined to talk except with fangs and
talons. The creatures in the menagerie include:
◊  Cockatrice
◊  Hippogriff
◊  Basilisk
◊  Manticore
◊  Owlbear
◊  Lamia
◊  Bulette
◊  Gorgon
◊  Chimera
Trap. Removing a cage from this room without
first speaking the command word (known only by
Braiham) triggers a glyph of warding placed over the
doorway. This glyph uses explosive runes cast as a
6th-level spell, inflicting 36 (8d8) cold damage to ev-
ery creature in the room (other than those in stasis).
A successful DC 17 Dexterity saving throw halves
this damage.
43
 B12. Grand Chapel
This beautifully appointed chapel features a dais
at the south end of the room with an ornate mar-
ble altar and a statue of Mirra Dovesong, goddess
of protection and mercy. Three rows of long
wooden pews occupy the room’s center. Based
on the other religious iconography decorating
the walls, this place was open to worship of many
different faiths.
The room feels different compared to the rest
of the mansion. A deep calm covers the chapel
and it feels both welcoming and safe.
While Braiham never had much use for
gods or their worship, his wife, Riya,
has long prayed to gods and god-
desses at appropriate times. She
had this room converted into a
chapel in which she and those
guests so inclined could pray
and worship. Although Riya’s
patron deity is Mirra Dovesong
(goddess of protection and sanc-
tuary), this chapel is open to
most of the common faiths.
Hallow (hazard). This
entire chamber benefits from
a permanent hallow effect,
which prevents celestials,
elementals, fey, fiends, and
undead from entering this
room. When the PCs enter,
they are cured of up to two
levels of dread and one level
of exhaustion if they
have any.
In addition, the hal-
lowed area includes a
ward against extradimen-
sional interference, which
means entering or leaving this
room isn’t affected by the dimension-
al shifting found elsewhere in the house.
It also means creatures can’t move or travel using
teleportation, extradimensional, or interplanar
means while in the chapel or to enter the chapel—this
includes Braiham Tzekes, the dimensional shambler,
and the phase spiders. All these creatures except the
shambler can, however, enter this room by walking
through the doors.
Treasure. A PC who offers a prayer or thanks
before the statue or altar of Mirra Dovesong receives
their choice of one of the following benefits: lesser
restoration, cure wounds (4th-level), remove curse,
or greater restoration. Each PC can only gain this
benefit once per 24 hours.
44
Desperate Measures
B13. Hallway
A suit of decorative armor on a stand and a glow
lamp are at the midpoint of this T-shaped hallway.
Slumped against the wall is the body of a pale
young man covered in blood and gore.
This T-shaped hallway connects all the rooms of the
second-floor west wing.
Lighting. The glow lamp casts bright light for 30
feet from its position and dim light for another 30
feet beyond that.
Creatures. This was a member of the servant staff
attacked and bitten multiple times by the Infect-
ed (page 102) (Area B3 and Area B4). He
escaped them but bled out in this spot. His
body has undergone the transformation
and he has become one of the Infect-
ed; he attacks if the PCs approach
within 5 feet.
B14. Guest Room
This luxurious bedroom includes a
large bed, a desk with chair, and a
small armoire.
When Anushka Tzekes had a guest
come visit, the ones she truly appre-
ciated were given the room across
the hall (Area B16) to use. A guest
given this room was less valued
in her opinion, but still worthy of
attention.
B15. Bedroom of
Anushka Tzekes
This may well be the grand-
est, most extravagant bedroom
in the entire mansion. A long, blue
curtain divides the room from west
to east, blocking out the wide bank of
windows along the south wall.
The furnishings include both those of a bed-
room on the west side of the chamber and an
office on the east side. A pair of glow lamps light
most of the room.
A middle-aged woman with gray-streaked black
hair sits up from her chair and confronts you. She
clutches a wooden staff in both hands. Although
she looks afraid and a bit lost, you see a spark of
fierce determination in her brown eyes.
Before her murder, Anushka Tzekes used this
chamber as her bedroom and private office. She also
used this space for practice dancing (she was skilled
in several forms), fencing, and martial arts. She
experienced eye strain in sunlight and thus kept the
long curtain drawn across the wide glass windows
at room’s south end. Anushka’s mother, Riya, has
ordered the servants to keep this room clean but oth-
erwise unchanged from the way her daughter left it.
Lighting. Two glow lamps at opposite ends of the
room provide illumination.
Creatures. After trying to reach a couple other
places in her house, Riya Tzekes (page 89) ended up
here. Rather than continue getting lost in her own
house, she elected to remain here until help arrived.
Riya is a calm, logical, clever, and educated woman
who ran the family business to great success. Every-
thing that’s happened in the past few days, culminat-
ing in the insanity now gripping the mansion, has left
her unmoored, a bit dazed, and uncertain what to do
next.
If she has encountered the PCs before (perhaps
in Act I when the characters first met her family),
Riya recognizes them and wants to speak to them,
although she is guarded at first. If she’s never met
the PCs before, she remains guarded and cautious of
them until they prove not to be a threat.
She doesn’t have much new information to offer
the characters at this point that they don’t already
know. She can, however, provide details about where
to find the entrance to the catacombs or Ishvani’s
bedroom (notwithstanding the dimensional shifting
she can’t figure out). She knew the old pass phrase
needed to open the catacomb door, but she doesn’t
know Ishvani changed it. She no longer trusts her
husband and believes he’s fallen into madness, and
she believes her surviving daughter has something to
do with recent tragedies (assuming the PCs haven’t
told her previously).
Finally, Riya knows about her daughter’s hidden
vaults where she keeps her prized possessions and
secrets. No one else in the household, not even the
servants, knows about all three of the vaults, each
hidden behind a secret door.
Treasure. Riya Tzekes wears two expensive rings
each worth 1,000 gp, but these are family heirlooms
she refuses to part with; she and wields a staff of
healing. Although she’s reluctant to part with her
staff, the PCs can persuade her to loan it to them
if they explain (in brief detail) what is going on and
what they are doing to fix it. (Ordinarily, this staff
requires attunement from a bard, cleric, or druid.
The GM can waive the normal 24 hours to become
attuned to help even the odds against the PCs—they
have some tough times ahead of them and not much
time for resting and recuperating.)
B16. Favored Guest Room
A long bloody streak starts inside the room near
the fireplace and continues right to the door
threshold where it disappears. The blood has
dried somewhat but still appears recent.
Those times when Ashkay Kommein visited the
Desperate Measures
estate, he often stayed in this room close by Anush-
ka, his bride-to-be. Otherwise, Anushka allowed her
favorite friends to stay here.
Creatures. The family mastiffs, Tusk and Fang,
transformed into dangerous undead creatures
thanks to the Infected (see second floor, Area B3).
As the dogs underwent the agonizing transformation
caused by the disease, they went hunting for prey.
The two mastiffs appeared in this room (by way of
the dimensional shifting effect), much to the surprise
and horror of the room’s occupant at the time, a
young noblewoman and friend of Anushka’s staying
here. Between them, Tusk and Fang grabbed her in
their jaws, tore her in pieces like a wishbone, and
then dragged the remains from this room. The two
mastiffs ended up in front of the Chapel (Area B12)
where they remain.
Investigation. Any PC with proficiency in Wisdom
(Survival) can identify the tracks as belonging to
a large mastiff of the sort owned by many wealthy
families in the city.
B17. Ishvani’s Study
Although this appears as another guest room,
it also looks as if someone has used it for their
private office. Pieces of parchment decorate the
walls, cover the floors, and obscure the desk.
A thin wooden bird stand sits near the fireplace.
A creature about the size of a small cat perches
on top of the stand. It resembles a bat only one
that is ivory in color with a more elongated head
and snout. It stares back at you with unblinking
eyes.
At times, Ishvani used this room as her private
study since the family didn’t need yet another guest
bedroom. Here is where she often helped her father
catalog and itemize the antiquities he brought back
from distant lands.
Lighting. Although this room has no lighting, the
glow lamp near the door in the hallway provides
some illumination here.
Creatures. Dwelling in the room is a homuncu-
lus named Hamalcar that Ishavni constructed for
practice. A successful DC 15 Intelligence (Arcana)
check identifies the creature and its nature, including
its telepathic connection with its master (assum-
ing the two occupy the same plane), and how the
creature functions as an extension of its creator in
sharing thoughts and ideas. A homunculus prefers to
remain in its master’s company whenever possible.
This check also indicates the homunculi possesses
intelligence and understands any language Ishvani
knows. Thus, the PC could acquire information from
it, although only with yes or no answers, concern-
ing the whereabouts of its master. Since Ishvani
knows the PCs and recognizes them, so too does the
homunculus, and so convincing it to help its master’s
enemies requires a good argument. The homunculus
45
 wants to be reunited with Ishvani and it tries tries to
communicate—something the PCs can use to their
advantage.
Treasure. While this room holds no valuable
treasures, it does contain a plethora of documents
concerning Braiham’s travels and purchases over the
past three years. The Tzekes family is all but finished
in the wake of recent events, but these documents
link the family’s wrongdoing to several other major
mercantile and aristocratic families. Information
such as this would be worth a considerable amount
to certain other families in the city such as the Nu-
mari (400-600 gp is reasonable). Likewise, at least
four families discussed in these documents would
pay extortion money to keep hidden their involvement
in illegal, illicit business. Several of these families
may possess disconcerting connections to Mythos
elements, dark magic, and other fell secrets. Figuring
out the paper trail from this mess requires a suc-
cessful DC 16 Intelligence (Investigation) check after
1d3+1 hours of reading and cross-checking.
B18. Guest Room
This guest room has the usual bed, desk, and
chair. The fireplace shows no sign of recent use.
Another of the many guest rooms available in the
mansion. This room has often served as a bedroom
for any guests of Ishvani, of which she’s had few.
B19. Bedroom of Ishvani Tzekes
The bedroom of the youngest Tzekes daugh-
ter resembles a combination of a small library,
an office, a bedchamber, and the cell of a mad
person. She’s decorated every spare inch of wall
space with indecipherable equations, drawings of
various symbols, flowcharts concerning the city
and its social hierarchy, and cryptic notes. There
are two sets of decorative armor on stands near
the fireplace.
This room serves as Ishvani’s private sanctum and
the place where she can avoid her family and focus
on the things that interest her most: learning about
the Mythos and finding ways to change the city of
Tiarazan to something better, more evolved.
Before Ishvani placed the dimensional chain in her
father’s library (Area A20, above), she took the time
to come to her room and enter the innermost secret
chamber (Area B20, below) to grab a few items.
She left a few behind as unnecessary or too much to
carry.
The doors leading to her bedroom are locked.
Picking the lock requires a DC 15 Dexterity (thieves’
tools) check. The doors have AC 13, 40 hp, immunity
to poison and psychic damage.
The symbols and equations largely relate to the
King in Yellow, the play, and the Yellow Sign. A follow-
46
Desperate Measures
er of the King in Yellow or someone obsessed with
the King can decipher the general meaning of these
writings, but their meaning eludes the sane mind. In
brief, she’s sketched out how to summon the various
avatars of the King and then, after proving herself,
become one with him. She then intends on using his
powers to remake the city to something more appeal-
ing to the creative spirit.
Creatures. Once Ishvani finished gathering items
from here, she activated a few defenses in the room to
deter intruders. These attack any intruders regardless
of their identity. These include a rug of smothering,
two sets of animated armor, and something she “bor-
rowed” from her father’s collection, a flesh golem. The
golem remains in its corner, out of sight when some-
one looks through the room’s doorway, but it activates
when anyone other than Ishvani enters.
B20. Hidden Vaults
Ishvani went to great expense and effort to have
several secret rooms connected to her bedroom. She
arranged the construction of three such rooms, each
separated by a secret door and each more difficult to
find than the last.
The first room was designed to be found and
plundered in the hope that it would convince any
thieves or intruders that they’d found her secret
chamber. The next secret room holds some of her
prized books and personal mementos, while the
northernmost and final secret room once contained
her most valued relics and magic items. She grabbed
most of these before setting up the dimensional chain
(see Area A19, ground floor) but left a few items
behind.
Secret Rooms. The secret door to enter the first
room lies behind a bookcase designed to move to the
right. A successful DC 15 Intelligence (Investigation)
check locates this door.
This first secret room holds crates of expensive
clothing and three-dozen books her parents wouldn’t
approve of (each book would be worth 1d4x10 gp to
a collector).
The next secret door is well concealed in the wall
and requires a DC 18 Intelligence (Investigation)
check to locate.
The second secret room contains 50 books and 23
scrolls of various ages focused on a variety of topics
ranging from history to religion to dark magic to
dimensional travel. Each of these works would fetch
1d6 x 25 gp from an interested collector.
The third and final secret door is cleverly designed
and requires a successful DC 20 Intelligence (Investi-
gation) check to find.
Ishvani used the northernmost secret room to hold
her most valued and most dangerous possessions.
When it wasn’t in use, she kept the lesser pallid mask
and the ring of Eibon here.
Treasures. The third secret vault has several items
of interest or value:
◊  The Book of Eibon (SPCM 133)
◊  Cryptical Books of Hsan, volume 3 (SPCM 134)
◊  Flute of the servitors (SPCM 125)
◊  Scrolls containing a copy of The King in Yellow
play (SPCM 135) Ishvani made in the event
the original was stolen or destroyed. This copy
includes her numerous notes in the margins. She
wrote out this quote on the front scroll: Strange is
the night where black stars rise”—the pass phrase
that opens the door to the catacombs (Area A20,
ground floor). Other notations throughout the
scrolls suggest the text may hold valuable secrets
and clues for dealing with the King in Yellow. Un-
fortunately, learning this information first requires
a PC to read the second act (see below). Ishvani
keeps the original on her person at all times now.
◊  Wand of binding
The King in Yellow
The PCs have in their possession a copy of The King in
Yellow play. This work consists of seven scrolls: three
for the first act and four for the second. Reading the
play’s first act often induces boredom and confusion in
its readers; reading the second act brings the reader’s
psyche into contact with alien and unfathomable truths
that the mind cannot reconcile. This often leads to the
reader falling into madness.
Other than Ishvani’s notation in the margin that
lists the pass phrase to open the door to the cata-
combs, the play’s first act has little useful informa-
tion; it does, however, offer a few tantalizing hints
urging the reader to continue to the second act.
Reading the second act imperils the reader’s mind.
It also provides clues and insights to the King in
Yellow and his connection with Hastur the Unspeak-
able. If a PC spends at least one hour perusing the
second act, they must first try to resist going insane
(see SPCM 135 for specifics). If they survive with
their mind intact, the PC enters a trance. The PC
can, if they choose, share what happens next with any
of their willing comrades nearby.
Read or paraphrase the following:
You stand in a study. The desk, the bookshelves,
and even the floor are littered with scrolls of
parchment. A young man in his mid-twenties with
light tan skin and shoulder-length black hair sits
at the desk. He writes at a furious pace, the quill
gripped tight in his hand. Each dip he makes into
the inkwell seems more frantic and urgent than
the one before.
Startled, the man looks up at you. “I’m pleased
you found me.” He sighs and leans back in his
chair. “My name is Luchem Pentashar. We have
too little time to speak but before we do, tell me
if you oppose the King in Yellow?”
If the PCs tell him no or avoid answering, he offers a
sad, wistful look.
Desperate Measures
“The young woman who was here before you… I
shouldn’t have trusted her, shouldn’t have shared
my secrets. I won’t make the same mistake
twice.”
At this point, the vision ends. Only a few moments
have passed in the waking world. Nothing the PCs
can do allows them to return to Pentashar.
If, however, the PCs admit their opposition to the
King in Yellow, Pentashar speaks further; read or
paraphrase the following:
Pentashar smiles and clasps his hands together
vigorously. “Then you’ve come to the right place. I
believe I can help your quest.”
Luchem Pentashar wrote the original The King in
Yellow play—his final and unfinished work but the
one that brought him the greatest fame and notoriety.
The king of his land put him to death in the wake of
the first performance of the play. hoping to destroy
all evidence of the work. During the writing of the
play, however, Pentashar embedded a portion of his
essence into the text, a message and a warning to any
who would listen and oppose the King in Yellow.
Investigation. Pentashar shares several pieces of
information with the PCs. The characters have a few
brief moments to ask further questions before the
vision ends and they return to the waking world. The
information he imparts, described below, can be role-
played out or simply told to the players.
◊  Pentashar wrote the play, but it was the King
in Yellow speaking through him—he never had
any control over the creative process. It was all
Pentashar could do to make the first act as banal
as possible in the hope of removing anyone’s will-
ingness to continue reading. Pentashar magically
embedded himself into the text with this message
of warning to anyone reading the play next.
◊  The King in Yellow is connected somehow to
Hastur the Unspeakable. The King perhaps rep-
resents a herald or harbinger for Hastur. Once the
King in Yellow manifests on a world, it inevitably
brings that world to Hastur’s attention. If the King
has manifested in any of his forms, Hastur’s arriv-
al is unavoidable at some point in future.
◊  The PCs must defeat the King in Yellow after he
manifests. If the PCs kill the would-be host (in this
case, Ishvani Tzekes) before the King’s avatar ap-
pears, then he can seek out another host and start
the process over again. The PCs could kill a dozen
hosts and still not stop the King from manifesting.
The King likely has his next potential host chosen
already.
◊  The King in Yellow possesses tremendous power
once he achieves the greatest incarnation of his
avatar. At the same time, the King always has
one weakness on any world in which he appears.
Often, this comes in the form of a magic weapon
47
 able to harm him more than any other. The King
doesn’t know from world to world the object of his
Experience Points
By the end of Chapter 2, the PCs gain enough
weakness until he feels its touch.
experience to reach 10th level.
◊  The King doesn’t think in terms of simply killing
his enemies. Instead, he pursues other ways of
eliminating those who oppose him—ways that ap-
peal to his sense of artistry and his warped sense
of humor.
◊  There is never only one copy of the play. If a copy
exists, then so too do other copies elsewhere on
that world.

To Read or Not to Read

The PCs may elect not to even look at the scrolls of
the play in the hope of preserving their sanity or out
of an abundance of caution. In this event, they miss
out on several pieces of important information,
including the pass phrase to open the door leading
to the catacombs as one example.
The GM has a couple options in this case. The
easiest involve them finding Ishvani’s journal
and the notes she’s taken concerning the play.
This journal could include the pass phrase to the
catacombs and a couple other points mentioned
above. The most important element: the PCs need
to defeat the King in Yellow after he’s become one
with Ishvani Tzekes.
As an alternative, the GM can have the dream
encounter with Pentashar’s “ghost” occur because
the PCs possess the play’s scrolls, even without
reading them. As for the pass phrase, perhaps the
characters see it scribbled in the margin when they
check the scrolls to make sure they’ve found the
play.

Conclusion
The PCs have found Ishvani’s copy of The King in
Yellow play. These seven scrolls include not only the
play itself but notes and comments in the margins
made by Ishvani Tzekes. These notes provide the cru-
cial pass phrase for opening the secret door into the
catacombs—the route that connects to the dimension
containing the Cradle of Myths amphitheater.
Depending on the thoroughness of their search,
the characters may or may not have acquired addi-
tional information and resources for undertaking the
next stage of their quest. They might, for example,
learn more from Braiham Tzekes regarding how
to defeat the rotting servitors, the unseen undead
leashed to the King in Yellow.
The PCs do uncover the reason why so few people
have heard of the Cradle of Myths. While the amphi-
theater is in an outdoor location, it isn’t outdoors on
this world or even this plane of existence. Traveling
from the catacombs beneath the mansion and to the
amphitheater involves a dangerous sojourn from this
dimension into another.

48
Desperate Measures
Chapter 3: Crescendo
A Cthulhu Mythos Adventure for 4 to 5 Characters of 10th level
Chapter 3 narrows the focus to one goal: get through
the catacombs to reach the Cradle of Myths. Once
there, the PCs must find a way to defeat Ishvani Tze-
kes and the King in Yellow’s avatar, but only after the
two have merged and before they return to Tiarazan.
This next episode is more linear than even the
previous episode. Numerous foes and obstacles stand
in their way, but the PCs also have an opportunity
presented to them should they choose to accept the
risks involved. Do the characters risk their lives and
their sanity to retrieve a powerful magic weapon
capable of hurting the King in Yellow?
This episode starts moments after the end of the
previous one. The PCs have opened the door in the
Tzekes mansion and entered the catacombs.
Chapter Synopsis
The PCs close in on Ishvani Tzekes. They must reach
her at the Cradle of Myths amphitheater and defeat
her and the King in Yellow one final, decisive battle If
Ishvani and the King’s avatar merge into one and return
to Tiarazan, this joined entity may prove unstoppable.
Having passed through the door leading to the
catacombs, the PCs find themselves looking at steps
descending into darkness. While they believe they’ve
entered the catacombs beneath the Tzekes mansion,
in fact they’ve entered another material plane. The
amphitheater exists on an alien world in an alien di-
mension. The PCs must now fight their way through
a section of ancient catacombs before they can reach
the Cradle of Myths.
Ishvani Tzekes has organized the last surviving
Mummers and other cultists in this area into two
groups; only two of her most trusted allies accom-
pany her to the amphitheater. The cultists have but
one assignment: stop anyone from pursuing Ishvani
until she completes the performance of The King in
Yellow. In addition, several horrific creatures stalk
the hallways and chambers of this dungeon, none of
which are allied with the Mummers or Ishvani.
The characters uncover clues suggesting the
presence of a magic relic, the Sword of Unmasking,
which the long-dead inhabitants of this other world
created to defeat the King in Yellow. This world died
before they got the chance to put the weapon to the
test. Do the PCs accept the risks involved with re-
trieving the sword based on the word of some ancient
legend?
49
Crescendo
 The Realm of the Ashen Lords
Although the PCs may not at first realize they’ve ar-
rived in another dimension, they soon learn the truth.
This world was once much like their own. A wealthy
and powerful assembly of arcanists and priests
known as the Ashen League ruled this realm. They
used their magic to suppress all opposition. They in-
dulged in their every whim and desire at the expense
of others. For a time until the arrival of the King in
Yellow (known on this world as the Pallid King), the
Ashen Lords held dominion over this world and used
their magic to plunder others.
For all their might, the lords retained one primal
fear: the fear of death. Death represented an insult
to their intellect and might. In searching for how to
defeat death, the League learned about the King in
Yellow and summoned him to unlock the secrets of
immortality.
The King in Yellow answered the summons. He
gave gifts and secrets to the League. As always
proves the case, the King gave his supplicants what
they wanted but not in the way they wanted. His
influence brought this world to madness and chaos.
Far worse, the manifestation of the King in Yellow
brought that world to the attention of Hastur the
Unspeakable, whose arrival destroyed all native life
there.
Now, except for marauding planar monsters,
Yellow Sign cultists, and a few undead horrors,
this world has been dead for over two centuries. If
anything, this world serves as a grim portent of what
awaits Tiarazan and the rest of its world should the
King in Yellow become ascendant once more.
As the truth of the King in Yellow’s influence
became apparent, a secret cult, the Children of
Calduvar, arose from within the ranks to challenge
the Ashen League. They used their last resources
to find a legendary blade, the Sword of Unmasking,
believing it offered the only way to kill or drive off the
King in Yellow. Although they located the weapon,
the League’s enforcers slaughtered them before they
could put the blade to the test, and the League put
the sword on display to demonstrate their might. By
the time the lords realized the cost of the bargain
they’d made with the Pallid King, it was too late for
them to put the sword to use, either. The Sword of
Unmasking remains where the League left it on
display within the Halls of the Dead.
The Halls of the Dead
These catacombs and connected chambers once
served as the place where servants of the Ashen
League prepared and entombed their masters who
died. This structure also includes an arena where the
Ashen Lords watched their chosen champions face
off against monsters and demons. The lords wagered
on each other’s champions, relished the excitement,
and cheered at the sight of blood, suffering, and
death.
50
Crescendo
Nothing in Common
The PCs have arrived on another world in a
different material plane from their own. This world,
although now dead, once had its own version of
the Common tongue. The PCs cannot translate
this language without a spell, magic item, or other
special ability.
Several pieces of useful information are found
here in this episode, but some of this information
appears in a language the PCs don’t read. The
characters should have access to spells and items
allowing them to understand these pieces of text.
For example, the GM can do this by giving the PCs
a few spell scrolls including comprehend languages
on them. Another option is for a PC to make a DC
15 Intelligence check to decipher a page of text’s
basic meaning if they spend 10 minutes studying it.
The highest of the lords received the honor of
entombment within a spectacular chamber, the
Transcendent Hall. This place displayed the trophies
of the lords’ conquests, including magic items, relics,
and artifacts found or taken from a dozen different
worlds.
The Environment
The Halls of the Dead have remained unused for
over two centuries; for the most part, the chambers
and alcoves haven’t seen another creature, living or
otherwise, in all that time. Now, a handful of Ish-
vani’s fellow cultists and closest minions wait here to
stop anyone foolish enough to pursue Ishvani to the
Cradle of Myths. In addition, a few alien creatures
have found their way or felt drawn here because of
the effects of the dimensional chain connecting the
Tzekes mansion to this plane. In most cases, these
monsters are as threatening to the cultists as they are
to the PCs.
Ceilings. Unless indicated otherwise in the text,
room ceiling heights are 20 feet, while hallway ceil-
ings are at 15 feet. A few larger chambers (especially
Areas 10, 11, 12, and 16) have high, vaulted ceilings.
Dust. Thick dust covers most areas, which makes
it easy to determine if another creature has been
through, thanks to the tracks and disturbances they
leave in the dust. Because of the dust, it is obvious on
inspection if a creature passed through earlier—no
Wisdom (Survival) checks are necessary. Likewise, it
is often obvious if an area has remained untouched
for ages.
Lighting. The area is unlit except as noted other-
wise. The cultists use a combination of oil lanterns
and magic to illuminate areas in which they are
active.
Temperature. Most areas are cool, if not cold—un-
comfortable but not threatening.
Doors. Until the arrival of the cultists, the doors in
this place had not been opened for almost two centu-
ries. The cultists performed a quick check of several
(but not all) chambers to learn the layout of the halls.
As part of this effort, they forced open several doors,
often through brute strength. Unless the text states
otherwise, assume the PCs have no difficulty (other
than loud squeaks and groans) opening or closing the
doors here.
Doors that have remained unopened for decades
or longer, however, pose a challenge. Opening one of
these doors requires either a DC 15 Strength check,
a knock spell, or bashing the door open. Assume the
doors here have AC 13, hp 50, resistance to piercing
and slashing damage, and immunity to poison and
psychic damage.
Noise. The cultists still alive by this point repre-
sent the most experienced, toughest, and canniest
of their number. They know by hearsay or seeing for
themselves that they face powerful enemies, neces-
sitating strict discipline on their part if they are to
prove victorious. They do not chant, sing, drink, or
talk loudly here.
Noise made in these rooms and halls carries and
echoes. The sounds of a battle or a loud spell going
off (e.g., thunderwave) reverberate for an impressive
distance. Any noises heard here are out of place and
likely originate from an enemy or hostile creature.
Area Descriptions
1. Entrance from Tzekes Mansion
After passing through door from the Tzekes’ man-
sion, a wave of nausea grips your gut, and silvery
afterimages swim in your vision. The strange feel-
ings pass after a few moments.
A long, crumbling stone staircase leads down.
The air smells earthy and old. Thousands of tiny
dust motes swirl around in the wake of your
passage.
When the PCs pass through the doorway in the
Tzekes estate, instead of entering the family’s private
catacombs, they enter another material plane—one
like their own but also different in stark ways. The
transition proves seamless other than a brief bout of
nausea and dizziness.
So long as the dimensional chain (in Braiham’s
library, ground floor of his estate) remains in place,
the mansion and this dimension remain connected.
Should someone unhook the dimensional chain,
within a few minutes the connection dissipates, likely
returning the mansion to its plane but cutting it off
from this one.
Once this occurs, the door at the north end leads
into the other side of this underground complex.
These chambers once housed servants, guards, etc.
Investigation. If a PC thinks of it, they can attempt
a DC 15 Intelligence (Arcana) check to confirm the
hypothesis they’ve crossed into a different plane.
A PC examining the steps can discern that many
years of dust have accumulated here, but someone
else recently disturbed it and left behind numerous
foot tracks.
2. Crypt Alcoves
This long, narrow hallway features numerous alcoves
along the south wall. Each alcove contains five
vertical stone shelves upon which rests mummified
corpses. A small hexagonal lidded onyx box sits on
each corpse’s chest, its hands resting upon it.
This east-west hallway features ten crypt alcoves
arrayed along the southern wall. Each alcove in-
cludes five vertical stone shelves. Each shelf holds
a humanoid-shaped body wrapped head to toe with
pale yellow gauze. Those interred here were the
lesser members of the Ashen League but still worthy
of respectful funereal rights.
Creatures. Ancient and powerful necromantic
magic dwells within each catacomb alcove along this
hallway. If a creature touches any mummified corpse,
the magic activates in the adjacent alcove (if neces-
sary, randomly determine if this occurs in the alcove
to the left or to the right of the one disturbed). This
creates 1d2 mummies that shamble out from their
shelf and attack those daring to defile this sacred
place (not all the corpses have survived intact enough
to rise as a mummy). Unlike typical mummies,
however, these lack vulnerability to fire and have a
movement speed of 25 feet.
The hexagonal box contains the mingled ashes of
that lord’s servants and housecarls. When the master
died, most of their household servants were put to
death to accompany the lord on their journey to the
afterlife.
3. Preparation Chamber
This large chamber features numerous marble
slabs, each four feet in height, six feet long, and
about three feet across. A humanoid creature
clothed in a hooded black robe stands in stiff
attention at five of the slabs. Their robes do not fit
quite right on their misshapen body. Two similar
but larger humanoids stand motionless at the east
of the chamber. Between the slabs sits an open
chest revealing the glimmer of gems and jewelry.
When the Halls of the Dead cared for the deceased
Ashen Lords, servants brought the bodies here for
the rituals for the dead. They were cleaned, dressed
in funeral finery, and then embalmed for interment in
these catacombs.
The ceiling height is 25 feet in this chamber.
Creatures. This room contains five re-animated
laborers (SPCM 359) and two re-animated guards
(SPCM 360). Two servants have a saw as their vari-
ant weapons (SPCM 359), which gives them a melee
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52
Crescendo
weapon attack that deals slashing damage, doesn’t
start a grapple, and scores a critical hit on a roll of 19
or 20. Each re-animated guard carries a poison spray-
er (SPCM 359) that allows them to project a 15-foot
cone of poison, inflicting poison damage to creatures
in the area of effect. Each creature suffers 10 (4d4)
poison damage, or half as much with a successful DC
13 Constitution saving throw. Each creature failing
its save gains the poisoned condition if it isn’t holding
its breath. A poisoned creature makes another Con-
stitution save at the end of each of its turns, ending
the poisoned condition on itself on a success.
The re-animated slavishly follow a basic program,
although this program has become corrupted and
warped over two centuries. They mistakenly as-
sume any creature entering this room needs to be
embalmed and prepped for entombment. For their
part, the guards attack if a creature resists being
embalmed. The re-animated laborers never leave
this room, but the guards do if they need to pursue
intruders trying to escape embalming.
Treasure. Back when the servants embalmed their
lords and masters, they took care to dress and adorn
the deceased as befitted their station. The iron chest
(which isn’t locked) contains the following valuables:
◊  Three gold necklaces with obsidian stones (150
gp apiece)
◊  Two bronze torcs embedded with rubies, sap-
phires, and emeralds (450 gp apiece)
◊  Four adamantine wrist bracelets with intricate
carvings of symbols across their surfaces (175 gp
apiece)
◊  Two gold and silver wire crowns (200 gp apiece)
4. Catacomb of the Third Circle
A smaller room contains nine alcoves in which
sit opened wood sarcophagi, each occupied by a
mummified humanoid corpse.
Partway into the room stands a stone lectern
upon which sits an opened tome. Two disheveled
piles of clothing lie on the floor in front of the
lectern.
The mid-rank Ashen Lords were buried here with
high honors. Because these lords wielded such
powerful magic, they generally staved off death for
centuries, which is why so few bodies lie interred
here. Instead of bodies stacked five high on vertical
shelves, here each alcove contains an open sarcopha-
gus with a mummified body inside.
Creatures. Again, powerful necromantic magic
flows through this room. However, since it would
be unseemly to disturb the rest of these lords and
force them to defend their sanctity, the builders used
magic to create a different defense. If a creature
touches or otherwise disturbs any corpse, the room
summons a wraith to slay intruders, and the wraith
brings two specters with it. The undead continue
their attacks until all intruders are destroyed or leave
this room. The cast-off clothing recently belonged to
a pair of Mummer cultists who came here and tried
to take the book. The summoned wraith slew them
both, after which they arose as specters under the
wraith’s command.
The stone book lectern in this room stands four
feet tall and measures 2-foot-square. An open book
rests on top. Touching or moving the book also sum-
mons the wraith.
Treasure. Each mummy wears 1d4 x 500 gp worth
of jewelry, including pendants, talismans, necklaces,
torcs, wrist bands, and so forth.
The book on the lectern contains a thick tome
bound in dragon scales. A quick look at it shows
humanoid hands recently brushed some of the dust
from its pages. Written in the variant of Common
native to this plane, the PCs cannot read the text
without magic or another translation method. A brief
perusal of the book shows it is history of the Ashen
Lords and their achievements in general, and a dis-
cussion of the accomplishments of the lords interred
here specifically.
If a PC reads the page to which the book lies open,
one passage stands out:
“And so did Lord Lymachis sacrifice his noble life
to defeat the fell rebels. His willingness to sacri-
fice his life to protect his betters speaks volumes
of his honor and nobility. The spoils of his victory
belong to all the Ashen Lords and thus shall the
sword (see illustration) be placed with honor in
the Transcendent Hall.”
“For their part, the rebels faced ultimate sanc-
tion in the Ritual of Unfleshing. So ended their
foul but foolish plan to harm the personage of the
Pallid King, thanks and blessings be to His name.”
An illustration of the sword takes up a fourth of the
page near this text passage. Underneath, the caption
reads “The Sword of Unmasking.”
Treasure. This book holds immense value to a col-
lector of such things, fetching as much as 1,000 gp. It
is immune to cold and fire damage. If it suffers other
forms of damage, a mending spell repairs the book
unless it is destroyed.
5. Chamber of Meditation
This room appears empty. The dust on the floor
shows no evidence of being disturbed.
A depressing heaviness emanates from this
room. Consecutive waves of sadness, grief, and
fear wash over you and then fade.
The dust swirls and rises as if in a wind vortex.
The particles coalesce and, after several heart-
beats, form a humanoid-shaped outline.
Servants and housecarls of a newly deceased Ashen
Lord waited here. They knelt, prayed, and meditat-
53
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 ed to prepare for their upcoming journey with their
deceased lord. At the arranged time, an escort led
them through the secret door in the Preparation
Chamber (Area B, above). Their brief trip—and their
lives—ended in the Room of the Final Mystery (Area
14, below).
On occasion, one of the servants here awaiting
their execution and impending journey into the after-
life decided they wanted to live a bit longer than was
proper. When this occurred, guards grabbed the re-
bellious servant and whipped them with scourges un-
til the servant died. The spectacle not only punished
the servant, but it also served as a demonstration to
other servants in the room not to resist their fate.
Creatures. The spirit of one of those servants
whipped to death remains tied to these rooms and
catacombs. When the PCs peer into the room, the
dust swirls to form the humanoid shape, which then
emits a faint silvery glow from within. This is a ghost.
It cannot remember its name. It only remembers be-
ing in these halls, waiting here for some form of sac-
rificial death, and finally its doom came: a gruesome
death by scourging over the course of two hours.
Investigation. If the PCs make no threatening ges-
tures, the ghost proves willing to communicate with
them. If the PCs pull weapons, attack, or take similar
hostile action, the ghost attacks.
The ghost knows a bit about the layout of the north-
ern third of the Halls of the Dead. When the spirit
gained awareness, it spent its time watching other
servants waiting here, sobbing and praying, as well as
following them as they were escorted to the place of
their demise. The ghost cannot speak the PCs’ version
of Common. It can, however, speak Infernal, which
is the same tongue on any plane. The ghost is most
familiar with Areas 2 through 9 but excluding Area
7—it hasn’t traveled through the double doors at Area
6. The ghost knows the location of the secret door in
the preparation chamber (Area 3, above). It has not,
however, investigated Areas 13 or 14.
6. Crypt Alcoves & Double Doors
This hall stretches a long length from west to
east. Similar in design to the northern hallway, this
one contains numerous alcoves along the north
wall. Each alcove holds five stone vertical shelves.
A mummified human corpse lies on each shelf. It
clutches a small onyx box with a lid on its chest.
A pair of bulky sets of plate armor stand in the
middle of the hall, one facing west and the other
east. Each bears a shield in one hand and a long-
sword in the other.
These catacomb alcoves are the same as those de-
scribed in Area 2, above, and the same details apply
here (including summoning mummies if a creature
touches or disturbs any of the corpses in these
alcoves).
The double doors on the south wall are heavy
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wood with iron reinforcements. They are covered in
bas-relief carvings of skulls, books, demonic faces,
and other images. These doors are locked from the
other side. A PC can pick the lock with a successful
DC 18 Dexterity (thieves’ tools) check. The doors
have AC 15, hp 75, resistance to piercing and slash-
ing damage from nonmagical weapons, and immuni-
ty to poison and psychic damage.
Of more immediate concern, however, are the two
imposing suits of plate armor standing guard in the
middle of this hallway.
Creatures. The suits of armor are helmed hor-
rors. They were brought along by Ishvani Tzekes and
her cultists. The lead cultist placed these constructs
here to guard the double doors leading south. The
helmed horrors have orders to stop any creature
other than Ishvani from passing through this door
(it won’t even allow the cultists on this side of the
dungeon to do so).
In addition to guard duty, the helmed horrors serve
an additional purpose. If they engage in combat, the
sound of steel weapons clanging against steel armor
resonates and echoes throughout this section of the
catacombs. This alerts the cultists in the Chamber
of Records (Area 9, below) to prepare to deal with
intruders.
Development. The helmed horrors do not ap-
proach within 5 feet of the double doors. Since they
are intelligent and cunning tacticians, one of the
helmed horrors might charge into the Catacombs of
the Third Circle (Area 4, above) and grab the book on
the lectern, which then summons a vengeful wraith
and its two specters to attack. Although the undead
first try to attack the helmed horror that committed
the theft, the constructs are immune to necrotic
damage. The undead then turn to attack the PCs on
the assumption they are also tomb robbers deserving
of punishment.
7. The Hallway of Ascension
Two sets of broad marble staircases climb
upward toward the south. The amount of work
and material used in constructing these steps
speaks to tremendous wealth. These steps were
designed to promote awe and they do a good
job of it.
Two sets of staircases lead upward to the other half
of the Halls of the Dead complex. This route is the
most direct path to follow Ishvani and her cohorts.
The double doors that stand at the southern end
of the second staircase are trapped with a glyph of
warding (see below). The doors are locked from the
other side and require a DC 18 Dexterity (thieves’
tools) check to open. These doors have AC 15, hp
75, resistance to piercing and slashing damage from
nonmagical weapons, and immunity to poison and
psychic damage.
Beyond this set of doors is a semicircle stone ledge
protruding from a wall. This ledge is approximately corpse. Each onyx box holds the remains of that
10 feet across, six feet in width, and has a depth of lord’s servants and housecarls.
four feet. The ledge looks out across a vast chamber Creatures. Disturbing any of the mummified bod-
lined with marble pillars and flooded with water. The ies triggers the room’s defenses, summoning 1d4+1
distance from this ledge to the water’s surface is 50 spectres from the onyx boxes.. Touching the book on
feet. the lecturn summons a wraith.
Although not apparent from this side, Treasure. Each mummy
there is a stone bridge that wears 1d6 x 500 in gems
can be extended from and jewelry.
the other side of this The Book of Caldu-
hall. The trigger var. The book on the
mechanism to lectern is a hefty tome
extend or retract bound in mithril plates.
the bridge is near Since the text is in a form
the doors on the of Common unknown to
other side of the the PCs, they require some
chamber (Area means of translating it,
15, below). such as comprehend lan-
Glyph of Ward- guages or making a DC
ing (trap). On her 15 Intelligence check to
way through, Ishvani understand a page of text.
placed a glyph of This book delves at
warding on the ceiling length into the deeds and
above the doors. If a achievements of the Lords
creature approaches of the Second Circle, taking
within 20 feet of the care to point out how much
doors on this side, more meaningful those
they trigger explo- achievements are com-
sive runes. Each pared to the Lords of
creature caught in the Third Circle. At
the area of effect the same time, the
must make a DC 18 writer points out
Dexterity saving none of these accom-
throw. A creature plishments compares
takes 22 (5d8) to those achieved by the
thunder damage Lords of the First Circle.
on a failed save, or The book includes a
half as much damage story concerning the Children of
on a successful one. The noise Calduvar, some sort of resistance
created by this discharge echoes for quite a distance. network that sought to overthrow the Ashen Lords.
The cult also fought to end the influence of an entity
8. Catacomb of the Second Circle known as the Pallid King. The cult leaders were
captured and sent to fight in a place known as the
This small catacomb chamber only includes five Tower of Trial.
burial alcoves, each containing an open sarcoph- More noteworthy to the PCs is a picture of the all
agus housing a mummified humanoid. A dozen too familiar Yellow Sign. Several passages of the book
or more small onyx boxes on the floor surround include this symbol, and a few provide an illustration
each sarcophagus. of the Pallid King—an individual closely resembling
Not far from the door stands a stone lectern avatars of the King in Yellow they’ve seen before.
upon which sits an opened tome. This book is valuable to a collector with a price of
about 1,000 gp.
The Ashen Lords entombed here were among the
elite. They occupied the second highest rank on their 9. Chamber of Records
society’s social ladder, only obligated to obey the
Ashen Lords of the First Circle. Whereas the lords This chamber, a library with a dozen or so book-
of the Third Circle often lived for over a century or shelves lined with scrolls and books, shows signs
more, those of the Second Circle lived longer than of recent activity. The various books and scrolls
two centuries. There are only five sarcophagi here, so lie beneath a thick layer of dust.
few were their numbers.
Each of the wood sarcophagi holds a mummified The Ashen Lords believed in maintaining good
55
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records of
their conquests
and their rule.
Their servants collect-
ed some of those records here in books and scrolls.
The information stored here represents a fraction of
what exists, with the records stored here considered
the most important and valued.
Approximately half of the Mummer cultists in the
Halls of the Dead wait here on guard for the PCs or
other intruders. They remain out of sight in this room
but listen for unexpected noises and watch for light.
When they realize intruders are in the vicinity, the
cultists prepare an attack most advantageous to them
and disadvantageous to the PCs. If, for example,
the PCs engage in combat with the helmed horrors
(Area 6, above), this offers a perfect opportunity for
the cultists to attack. If, however, the PCs awaken the
undead in these halls, the cultists know better than to
become involved.
Creatures. The cultists in this room include one
blessed berserker (SPCM 404), a cult killer (SPCM
404), an obsessed artist (SPCM 406) and an urbane
magician (SPCM 406). They have familiarity with the
layout of this part of the dungeon—they learned the
hard way not to touch any of the mummified bodies
or any book on any lectern (two of their number were
slain by a wraith and thus became specters, while two
others had their necks snapped by a mummy).
Spectral librarian. The library contains a form of
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unseen servant
that remains on
duty if a creature
enters here and
approaches any book-
shelf or either lectern. This
invisible librarian communicates
via telepathy to any creatures in
the room. Its ability to respond to
questions is strictly limited to the
books and scrolls found here and
their general contents (a sort of an
invisible walking telepathic card cat-
alog). It knows the works by subject
and their location on the shelves.
Researching the library. If the
PCs spend at least 10 minutes
seeking answers from the spectral
librarian, they can acquire several
books and scrolls with information
useful to their current quest. The PCs
still need a way to translate these works
(comprehend languages, etc.). Here is a brief run-
down of what the PCs might learn from this effort:
◊  This world was ruled by a cabal known as the
Ashen League. Its members were spellcasters,
arcanists, alienists, and the like.
◊  The Ashen Lords sought to defeat their last ene-
my: death. A strange visitor appeared to them and
delivered a curious play. After the lords read the
play and unraveled the mystery of “the sign” (i.e.,
the Yellow Sign), they put on a performance and
summoned the entity.
◊  The entity answered their call. It gave the secrets
of immortality in exchange for being named their
leader. They named him the Pallid King.
◊  A cult, the Children of Calduvar, arose from the
ranks of the Ashen Lords and attempted to over-
throw the masters and drive away the Pallid King.
◊  The cult acquired (or perhaps was given) an
artifact called the Sword of Unmasking, which
supposedly held the power to wound and even slay
the Pallid King.
◊  Ashen Lords tracked down and captured the cult.
They took the Sword of Unmasking as a trophy.
They placed it somewhere nearby in a place
known as the Transcendent Hall.
◊  At the end, the Ashen Lords regretted surren-
dering their power to the Pallid King. The texts
 speak of an overwhelming and destructive power
that appeared on this world a few years after the
arrival of the King. They referred to this entity as
the Magnum Innominandum. There are no further
entries after this account.
Of note, the Mummers opened the door leading
south. They explored the steps leading downward
but stopped when they came to an enormous, flooded
chamber (Area 10, below).
Treasures. The shelves here include over 60
scrolls and 115 books. Of these, half have succumbed
to age and moisture exposure, becoming too brittle
to read without destroying, and they are too fragile
for transport. A mending spell can restore one book
or one scroll to pristine condition, although doing so
to the entire library would take almost three hours
to complete. Each scroll is worth 3d6 x 15 gp to a
collector, and each book is worth 4d4 x 20 gp.
Among the works found here are four spell scrolls.
These do not require translation to read or use. The
contents of each spell scroll include:
◊  Comprehend languages x 3, detect magic, divina-
tion
◊  Bless, greater restoration, lesser restoration
◊  Dimension door, dispel magic
◊  Comprehend languages, darkvision, enhance abili-
ty, protection from energy
10. Flooded Hall
An enormous many-pillared hall stretches before
you. Two perpendicular halls intersect to form a
T-shape. The east-west hall has twice the length
of the north-south hall that forms the top of the
T. The entire chamber has flooded to an uncertain
depth, although deep enough you cannot see the
bottom.
A series of marble pillars at regular intervals
supports the ceiling. Approximately seventy feet
of distance separates the ceiling from the water
level.
At the midpoint of the west wall one broad
section has collapsed. A slow but steady trickle of
water flows through this hole and into the hall.
Noises echo here seemingly without end. The
only regular sound is the drip-drip-drip of water.
The place smells of must, mildew, and age.
This vast T-shaped hall once served as a place of
meeting, open discussion, and relaxation for the Ash-
en Lords. They could, for example, watch an aboleth
devour slaves too unworthy to die with their masters.
They could show off their arcane discoveries, swap
stories, and casually decide the fate of millions of
their subjects.
Some years ago, tectonic shifts collapsed a section
of the hall’s west wall. An underground stream fol-
lowed this diversion and slowly flooded this chamber.
Water still trickles in and eventually this chamber will
flood from floor to ceiling.
The water throughout this chamber averages 20
feet in depth. Visibility within the water is fair as the
water is only somewhat murky, reducing the distance
of light sources by half. Patches of algae float along
on the surface.
As mentioned, the ceiling is 70 feet above the wa-
ter’s surface, which means the hall has a total depth
of 90 feet from floor to ceiling.
The stone pillars are surprisingly narrow and spin-
dly, each measuring three feet across at the base and
a mere two feet across along the pillar’s length. Many
pillars show signs of stress fractures along their
length and at their bases.
Creatures. Floating within the water are six
drowned zombies (page 98). These creatures were
once humanoid servants and guards of the Ashen
Lords killed in the final days after Hastur’s appear-
ance and brought back to unlife. They’ve floated
here, filled with rage but nowhere to direct it for two
centuries. If a creature enters the water, the zombies
know about it and seek to drag the intruder to a
watery grave.
11. Chamber of Expiation
The eastern third of this long, pillared hall features a
water-filled tank with walls formed from multiple per-
manent wall of force spells. In the time of the Ashen
Lords, servants sent on the overhanging ledge (Area
13, below) sometimes chose to leap into the tank
below the ledge rather than die of thirst. By having a
tank with transparent sides, the Ashen Lords could
watch the death of these worthless servants. Because
the entire chamber has also flooded, the presence of
the wall of force tank isn’t apparent from above and
this part of the hall looks like the rest of it.
An indeterminate number of waterlogged bones
float in the tank from the servants that took the
plunge.
The wall of force tank has a wall height of 20 feet.
The water has a depth of 19 feet, which makes its
depth a foot shallower compared to the adjacent
flooded area to the west.
Creatures. An aboleth inhabits the tank. It has
remained here, submerged and forgotten, since the
demise of the Ashen Lords. Given the lack of food in
those long centuries, it entered hibernation. If crea-
tures enter its tank or elsewhere within the Flooded
Hall to the west (Area 10, above), it awakens, and its
first priority is to acquire food. It is, however, willing
to form a truce with a creature via telepathy if the
creature has a way to free the aboleth and transport
it to somewhere watery other than this tank.
Given the aboleth’s innate intelligence and its Prob-
ing Telepathy ability, it not only can learn about other
creatures, but it has a good chance to determine if
those creatures have the ability to do what they prom-
ise (i.e., the creatures have magic and items capable
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 of transporting the aboleth somewhere safe and
watery). If the aboleth believes the other creatures
are negotiating in bad faith, it seeks to find some way
to bring them closer and enslave them.
Development. As leverage, the aboleth knows the
location of the Sword of Unmasking,
and it knows the direct way out of
this area. It also knows that other in-
truders recently passed through these
halls, i.e., Ishvani and a few agents.
12. The Transcendent Hall
Except for a few splinters, the door into
this room is gone, perhaps de-
stroyed by the pressure of so
much water on one side.
The room is flooded several
feet deep with dark, murky water.
Ten sarcophagi float, unmoored, on
the water.
On the south end of the chamber, a
set of stone steps rises from the water
up to a marble dais along the back wall.
A ten-foot-tall alabaster statue dominates
the dais. The statue depicts a tall, spindly
humanoid with its right hand upraised,
palm facing you. It grips a tall staff in its left
hand. If this statue represents the so-called
Ashen Lords, they were physically frail with
slightly elongated heads.
Half a dozen objects float about ten feet
over the head of the statue, including a crown,
an obsidian statuette of a horse, a sword, a head
encased in clear crystal, and a set of feathery
wings.
During the time of the Ashen Lords, their most
valued and important members, the Lords of the
First Circle, were buried here with full honors. In
addition, the trophies they earned (or stole) in life
were put on display here.
When the hall to the north (Area 10, above) flood-
ed, eventually the weight and pressure of so much
water shattered the door leading into this room,
flooding it in turn. When the water level reached suffi-
cient height, it lifted the sarcophagi and moved them
out of their alcoves.
The vaulted ceiling in this room is higher than in
most areas, being 30 feet from floor to ceiling and 21
feet from ceiling to the water’s surface.
Throughout most of the room, the water is 9 feet
deep. The water is brackish and murky here, limiting
vision to 10 feet regardless of darkvision or light source.
The water is surprisingly colder than one might expect.
The south end of the steps and the connected dais
stand above the water’s surface. The statue on the
dais indeed represents one of the Ashen Lords, in-
cluding the use of alabaster for the sculpting materi-
al—the lords had pale white, almost translucent skin.
58
Crescendo
Creatures. A dangerous and alien creature has
come to these halls, attracted to this place’s magi-
cal emanations. If the gug (SPCM 332) hears the
approach of other creatures moving closer, it hides
underwater, positioning itself beneath one of the
floating sarcophagi. It attacks at the most advanta-
geous moment, especially if the intruding party splits
itself into smaller groups to explore this room.
Development. Each sarcophagus is closed and
sealed. Breaking the seal requires either a knock
spell or forcing it open with a DC 17 Strength check.
Inside each sarcophagus is a mummified humanoid
adorned in jewelry and clutching an obsidian rod in
its hands folded over its chest. Three of these sar-
cophagi contain a mummy, but these do not awaken
and attack intruders unless their sarcophagus
is opened. The GM should determine which
three sarcophagi hold the mummies. If they
awaken, they view all intruders—including the gug—
as enemies to destroy.
Magic holds in place the relics and items floating
above the statue. If a creature can reach an object,
they can grab hold of it and take possession of it.
Doing so, however, triggers a bestow curse against
the first thief to do so. The target must make a DC
16 Wisdom saving throw to avoid the curse or
suffer disadvantage on their Wisdom checks and
saving throws for the next 8 hours.
Treasure. Each mummy wears gems and
jewelry valued at 3d4 x 150 gp.
The six items floating over the statue are
all that remain of the trophies and objects of
conquest once displayed here. These objects
include the following:
◊  A pair of feathery wings. These once
adorned the back of a deva. The Ashen
Lords captured it, tortured it, and tore
free its wings. If a creature positions the
wings along their back, the wings embed
into the person’s flesh and meld there. If
the creature is evil, they suffer 33 (6d10)
radiant damage and the wings combust
into ash. If the creature isn’t evil, they gain
a fly speed of 90 feet for the next 8 hours,
after which time, the wings drop off and
disintegrate.
◊  Crown. This item is nonmagical, but is
worth 3,500 gp.
◊  Head encased in clear crystal. The
crystal is a curious form of glass with
the toughness and resiliency of steel.
The head cased within belonged to
the infamous rebel and cult leader,
Calduvar.
◊  Obsidian horse statuette. This a figurine of won-
drous power (nightmare).
◊  Sword. This is the Sword of Unmasking (page 109).
 59
Crescendo
 13. The Path of Dishonor
This door opens onto a small stone ledge
overhanging a vast, enormous hall of pillars.
After the death of an Ashen Lord, their servants were
expected to travel with them to the afterlife. In their
last will, each lord mentions the names of their trust-
ed loyal servants—the servants expected to accom-
pany them. The also listed the names of their least
trusted, least liked servants. These ser-
vants, instead of being taken to the
Room of Final Mystery (Area 14,
below) were escorted through a
one-way door and left on
the ledge. The servant
would remain there
until they leapt
from the ledge
to their death
or until they
perished of
thirst.
The door
only opens
from the east
side. Once it clos-
es, it locks. Forc-
ing it open from
the west side
after it closes
requires a DC 25
Strength check.
Since the west-side
facing is stone, breaking
through the door offers
a difficult challenge. The
door has AC 17, hp 75, damage
threshold 5, immunity to piercing
and slashing damage from nonmagical weapons, and
immunity to psychic and poison damage.
The stone ledge is about 5 feet across, 6 feet wide,
and 2 feet in depth. The distance from the top of this
ledge to the surface of the water below is 50 feet.
14. Room of the Final Mystery
This room bears the weight of profound suffering,
terror, and sorrow. These raw emotions wash over
you. Although many years have passed since this
room last saw use, the stench of fear still lingers.
A set of eight marble slabs, each six feet in
length, three feet across, and four feet in height,
forms a circle at the south end of the room. Each
slab has two pairs of chains with one end stapled
to the stone and with an iron manacle at the other
end.
A gaunt bipedal creature rises from the center
of the circle by the marble slabs. It stands over
60
Crescendo
seven feet tall and wears long, flowing black robes
with a hood pulled down over its face. In one
hand it carries a book wrapped in chains. It raises
its withered hand and points at you with a bony
finger.
After an Ashen Lord died, all the servants of their
household were gathered and kept in a meditation
room for hours to days (Area 5, above). At the ap-
pointed time, guards came and escorted the servants
in two staggered groups. The guards escorted
the first group to this chamber, while
another set of guards escorted the
remaining servants to the Path of
Dishonor (Area 13, above).
The first group consisted
of the deceased lord’s
favored and most trusted
servants. They had the
honor of dying and ac-
companying their master
to the afterlife. These
servants died here.
The servants
brought here faced
their most terrify-
ing death. Their
execution arose
from their own
primal fears.
The servants
were placed on the
marble slab and
manacled in place all
while being watched by
an enormous creature
draped in black robes
with the hood pulled over
its face. Then the scream-
ing began.
The Ashen Lords believed that the more painful
and traumatic one’s death, the more tempered and
hardened they would be for their journey to the
afterlife. Thus, these servants were being given the
blessed opportunity of dying a “better” death.
Phantasmal Killer (trap). The hooded figure
is part of an illusion triggered whenever anyone
enters the room. It makes no threatening motions or
movements but remains at the center of the marble
slabs for a full minute. At that point (and the GM
should keep track of in-game time for this), the room
activates phantasmal killer.
Each creature in the room must make a DC 18
Wisdom saving throw. On a failed save, the creature
becomes frightened and gains a level of dread that
lasts for 1 minute. At the end of each of the creature’s
turns before the spell ends, they must succeed on
a DC 18 Wisdom saving throw or take 22 (4d10)
psychic damage. On a successful save, the effect ends
for them.
 Throughout the duration of the phantasmal killer,
a fist-sized diamond floats above the hooded figure.
The gem glows and pulses from within. It absorbs
all psychic damage sustained in the room. After the
ordeal, the hooded figure sinks into the floor over
which it stood. As for the gem, its glow diminishes to
a flicker and it floats to rest on the floor.
Treasure. The crystal at the center of the chamber
is a vampiric psychic crystal (page 110). A creature
holding the gem can tap into its stored psychic
damage, which equals 70 points plus whatever it
absorbed during this encounter. This energy allows
the wielder to spend an action to heal a creature’s
injuries, restoring 1d8 hit points for every 10 points
of psychic energy expended. Alternatively, the wielder
can spend an action to target a creature they can
see within 60 feet. If the ranged spell attack hits, the
target suffers 1d8 psychic damage for every 10 points
expended from the crystal.
Healing. You can use the energy to heal any
creature’s damage, regardless of the damage type
suffered, by touching the crystal to them. For every
10 points of psychic energy released from the crystal,
the target creature regains 1d8 hit points.
Psychic Shock. You can target a creature you can
see within 60 feet. Make a ranged spell attack roll.
If you hit, the crystal shoots out a bluish beam of
destructive energy. For every 10 points of energy you
release, the target suffers 1d8 psychic damage.
If a creature targets you with an attack dealing
psychic damage, as a reaction you can use the crystal
to reduce the damage you take by half. The crystal
stores the absorbed points.
15. Grand Doors
These massive wooden doors feature intricate
bas relief carvings across their entire face. The
carvings depict some sort of scene reminiscent
of a gladiatorial arena but with warriors fighting
desperate battles against tentacled monsters. An
attentive audience watches from above as the
carnage unfolds.
These double doors open into the top level of the
Tower of Trial. On the locked side of the door exists
a stone ledge that retracts whenever the connect-
ing stone bridge on the other side retracts (Area 7,
below). Since the bridge is retracted, so too is this
ledge.
Secret doors. These are pocket doors. Each door
slides horizontally inside the wall to which it con-
nects. Until the stone ledge on the north side of these
doors slides into place, the doors remain closed.
On the north side of these doors is a trigger panel
mounted into the wall immediately west of the doors.
A similar panel exists on the opposite side of the
doors along the wall immediately to the east of them.
Pushing the panel on either side first extends a stone
ledge from a slot in the wall below the double doors.
This ledge is 55 feet long and 5 five wide. Next, a
stone bridge, 15 feet long and 20 feet wide, extends
from the ledge and crosses the gap to the other side
of the chasm (Area #7). Either panel operates like a
toggle; pressing either one a second time retracts the
bridge and then the ledge back into the wall.
Each of these panels is part of a decorated wall
and difficult to spot. A PC can locate a panel with
a successful DC 12 Wisdom (Perception) check.
Locating and identifying the panel on the north side
of the doors from a distance, especially if no light
illuminates this side of things, offers a more difficult
challenge. From about 20 to 25 feet away, the DC to
identify the panel is 25. If the PC lacks darkvision
and the panel is illuminated by only dim light, they
suffer disadvantage on the check (no light on the
panel or no darkvision means the PC has no chance
to identify or locate the panel).
The PCs can attempt to force the doors apart
through brute strength, assuming they have the
ledge to stand upon or can levitate while making the
attempt. This requires a successful DC 20 Strength
check. If the PCs have poor footing, the GM may im-
pose disadvantage on this check. Physically destroy-
ing the door takes considerable effort. The door is AC
13, hp 100, damage threshold 5, immunity to pierc-
ing and slashing damage from nonmagical weapons,
immunity to psychic and poison damage.
Once extended, the ledge measures 5 feet across,
55 feet in length, and 2 feet in depth. The bridge,
which extends past the ledge, measures 15 feet
across, 20 feet long, and 2 feet in depth.
16. Tower of Trial
You stand at the topmost level of a circular tower.
It descends for almost 80 feet to the bottom. The
center of the tower is hollow from floor to ceiling.
Seven vertical levels extend the length of the
tower shaft around the hollow center. Each level
features plush, comfortable chairs for an audience
of some sort, and a wooden rail around the edge.
The bottom level of the tower features a
10-foot-wide circular stone well that sinks to even
farther depths.
There is no sign of a staircase or other way to
move from one level to the next.
The Ashen Lords used this chamber to conduct
games where their gladiators fought to the death
against all manner of monsters and magical threats.
The lords placed wagers on the game ranging from
which creature would prove victorious to how long a
given champion might survive. The lords also assem-
bled here to discuss politics, arrange deals, and plot
new schemes against their rivals with no real atten-
tion paid to the show. If the lords wanted a close-up
view of combat, they used spells such as arcane eye.
The tower is seven levels in height. The double
doors (Area 15) enter the tower at the topmost level.
61
Crescendo
 The doors leading to the Cradle of Myths (Area 17) of greater healing, and a potion of superior healing.
exit from the second level from the bottom. There Their packs also contain water and rations for four
are no stairs or other means of accessing any level more days.
of the tower’s five topmost levels. Those assigned to
the second level (i.e., the one above the gladiatorial 16. Exit Hallway
ring) entered through the eastern doors and took
their seats. Most of the Ashen Lords possessed the A long hallway stretches before you. Dim, hazy
innate magic to cast levitate at will and thus used sunlight shines through the end some sixty feet
this means to ascend and descend through the tower. or so to the east. The wind swirls through here,
Thus, if the PCs wish to exit the tower, they need to stirring up the layers of ash coating the floor.
find a way down on their own. Three sets of humanoid tracks lead from the door
The Ashen Lords, their chosen friends, and favored you just passed through and head east to the exit.
servants sat on the level set aside for their status and
position. The elite members of the First Circle sat This long hallway leads out of the mountain and out-
at the seventh, topmost level, while apprentices and side. It opens at one end of a narrow valley. Several
lesser friends were relegated to the second level. hundred feet away stands the ruins of the Cradle of
Gladiators fought their opponents on the bottom Myths amphitheater.
level. For events where gladiators fought a monster Upon reaching this room, the PCs have escaped
or dangerous beast, the creature was raised up from the Halls of the Dead. They now stand on the preci-
a cellar beneath the tower. This elevator rose from pice of the climactic encounter with Ishvani Tzekes
the cellar to the top of the well and then the fight and the King in Yellow.
began.
Although there are more chambers and hallways Conclusion
beneath the tower that once held caged monsters and
Having made their way through the Halls of the
servants responsible for running the games, these
Dead, the PCs enter a small valley leading to the Cra-
areas aren’t included in this adventure. Since the
dle of Myths amphitheater. Ahead of them lies Ishvani
passing of the Ashen Lords, these under-chambers
Tzekes, giving her final performance of The King in
remain empty and unoccupied.
Yellow. The PCs now know they must allow her to
Lighting. Magical light emanates from the ceiling
summon the avatar and merge with it, after which
and every level and provides bright light to the entire
they can strike. If they can defeat the King in Yellow
tower.
and prevent him from escaping this plane, they stop
Creatures. The last few cultists, other than the
the cycle of the Yellow Sign and save Tiarazan—at
two that accompanied Ishvani onward to the Cradle
least for the time being.
of Myths, wait here to ambush anyone entering
The PCs may even possess a powerful blade, the
the tower. They pick their moment to attack the
Sword of Unmasking. With this weapon, they have
PCs, preferably at a point where the party has split
a better chance to defeat the King in Yellow. The
into smaller groups. The cultists include a bless-
ultimate challenge awaits.
ed berserker (SPCM 404), an urban magician
(SPCM 406), and a Yellow Sign attendant (SPCM
389). For this encounter, each carries a potion of Experience Points
flying. When they hear noise on the other side of By the end of Chapter 3, the PCs gain enough
the double doors (Area 15, above), each cultist experience to reach 11th level.
quaffs their potion and takes position somewhere
on one of the tower’s levels. The magician and the
Yellow Sign attendant should situate themselves on
one of the mid-levels, while the cult killer and the
blessed berserker stand near one another on one of
the upper levels. The best point to strike may come
when the PCs start to descend through the tower
via magic items, spells, rope, or climbing.
If captured, only magical compulsion can force the
cultists to reveal any information concerning Ishvani
or her schemes (they were never informed of many
details in the first place). One of the cultists, either
during the combat or if captured, might blurt out that
the PCs were doomed to be forever trapped on this
plane.
Treasure. The cultists brought a few things with
them in case they survived a battle but sustained in-
juries. They have four potions of healing, two potions
62
Crescendo
Chapter 4: Grand Finale
A Cthulhu Mythos Adventure for 4 to 5 Characters of 11th level
The final, climactic encounter between the PCs and
Ishvani Tzekes and the King in Yellow begins. Ishvani
seeks to summon the King’s most powerful avatar
and join with it. Once this combined entity leaves and
returns to Tiarazan, the King in Yellow may prove
unbeatable.
For their part, the PCs face a difficult and dan-
gerous choice. Do they attack Ishvani before she com-
pletes her summons? Doing so, while difficult, would
be less dangerous than fighting the King in Yellow,
but it would also mean the cycle could begin all over
again with a new host, more cultists, and another
wave of madness.
On the other hand, if the PCs allow Ishvani to be-
come one with the King, they face the most powerful
and destructive enemy they’ve ever encountered. If
they fail to win, then the avatar can escape back to
Tiarazan and possibly trap the characters on this
alternate plane forever.
Chapter Synopsis
The episode begins moments after the previous one
ends. The PCs have exited the Halls of the Dead and
now stand at one end of a valley. Their destination,
the Cradle of Myths amphitheater, lies visible in the
distance. The characters need only reach the amphi-
theater and then deal with Ishvani and her last few
minions.
This world’s moon, large and bloated and bathed in
pale yellow light, fills the night sky near the horizon.
On the moon’s surface can be seen the distinct out-
lines of a masked face with the Yellow Sign embla-
zoned upon it. The gigantic face casts its gaze down
upon the amphitheater. For all the PCs know, the
moon back on their world has transformed the same
way.
How the final encounter goes depends on the PCs’
choices. They either face Ishvani Tzekes and her two
most experienced minions—a dangerous fight to be
certain—or they face the King in Yellow’s avatar. Both
plans carry risks and rewards, and both have major
implications for the city of Tiarazan and even their
home world.
A Method to Their Madness
Ishvani Tzekes and the cultists went to extraordinary
lengths to conduct the play’s final performance on an
entirely different plane and a different world. They
63
Grand Finale
 could have conducted the performance somewhere
in Tiarazan and expended fewer resources and lives
in the process. So why did they go to such great
lengths?
Although it’s perilous to try to understand the
whims and rationale of a being such as the King
in Yellow, let alone those of cultists devoted to the
Yellow Sign, some of these choices follow their own
weird logic.
First, both Ishvani and the King now recognize
the PCs as their greatest threat. The PCs have so far
survived everything thrown at them and yet continue
their dogged pursuit. Conducting the performance
in an easy-to-reach location would allow Ishvani’s
enemies to stop the play before it even started. For
all her resources and cunning, she’s almost run out
of time and cultists to support her. With her involve-
ment in everything brought to light, she can no longer
hide in the shadows and let other people do her bid-
ding. Now everything falls on her. By conducting the
ceremony on the world of the Ashen Lords, it forces
the PCs to follow on a narrow, easy-to-predict course,
allowing Ishvani to throw obstacles in their path.
Second, this world holds special meaning to the
King in Yellow, as it represents one of his more
recent successes. Serving as Hastur’s harbinger, the
King corrupted the ruling elite of this world in a short
time and prepared for Hastur’s arrival. The world
of the Ashen Lords now lies dead and desolate, the
perfect testimony to the King in Yellow’s influence.
Third, the PCs are hard-pressed to bring any
allies with them through the madness of the Tzekes
mansion and the dangers of the Hall of the Dead. The
PCs find no allies whatsoever on this dead world.
Finally, the King in Yellow and Ishvani know how
relentless their enemies are. They know the PCs will
show up for the final battle no matter what. Going to
such elaborate lengths to arrange the final battle in
a place of the King’s choosing speaks to his artistry
and creativity. He wants the PCs to see the results
of his handiwork and to feel a sense of despair and
hopelessness. He wants to defeat them without
killing them all, as killing the characters is too easy
and lacks subtlety or imagination. Rather, the King in
Yellow wants to leave them defeated, trapped forever
on a lifeless world to ponder their failures, helpless to
alter their fate.
The Final Challenge
The characters are about to fight the most powerful
creatures they’ve ever encountered, and they do so on
an alien world far from allies or aid. The characters
likely expended resources forging their way through
the Halls of the Dead to get here. They may be low on
spell slots and have used some or all their most po-
tent class features. Perhaps their reserves of healing
are low.
The GM must weigh a few factors before the char-
acters embark on the final episode of this act, and
64
Grand Finale
appraise whether the PCs stand any chance at victory
or if they’re too weakened and beat up. The final
encounter is intended to be difficult and challenging
with its outcome in question until the last possible
moment—players need to use all the cleverness and
resourcefulness they can muster. At the same time,
the GM controls several dials and levers with which
they can adjust the encounter difficulty. Consider
these options:
◊  The PCs can spare one hour to complete a short
rest.
◊  The PCs take a risk and complete a long rest. This
is the least ideal solution because it runs counter
to the race against the clock and the tension of an
impending deadline.
◊  After escaping the Halls of the Dead, the charac-
ters remove one, two, or perhaps three levels of
dread they’ve accumulated.
◊  The PCs regain expended Hit Dice. The GM may
need to remind players that 10th-level characters
have 10 Hit Dice worth of healing they can invest
in themselves following a short rest.
◊  Each PC regains one expended class feature
that normally recharges after a long rest, or two
expended class features requiring a short rest.
If a character lacks such features (e.g., a rogue
with the thief archetype), they can instead choose
to either regain all lost hit points or remove any
conditions afflicting them.
◊  The GM can also tweak the villains in terms of
how focused their tactics are. The bad guys are,
after all, insane and thus don’t always do the most
logical or beneficial thing at any given moment.
The GM should take care, however, not to “dumb
down” the bad guys but rather find in-game
reasons why they don’t always unleash the best
possible spell or other attack.
◊  The GM can remove one or both cultists waiting
with Ishvani to help even the odds, especially if the
battle involves the avatar of the King in Yellow.
The final encounter should challenge the characters
and force the players to dig deep for the win. Unless
your group is okay with it, the last battle shouldn’t
end with an abrupt total party kill moments after the
fight starts. Remember that the King in Yellow wants
to torment them with false hope, perhaps giving them
an actual chance to win.
The Cradle of Myths
This enormous open-air amphitheater once served
as an entertainment venue for the Ashen Lords, their
guests and friends, and their servants. This place
hosted plays, musicals, dance ceremonies, ritual ex-
ecutions, public trials (often immediately before the
ritual executions), and impressive displays of magic
prowess.
The Cradle sits within a shallow depression, sur-
rounded by a ridge line. The ridge along the southern
side rises 10 feet high while the ridge along the north
rises 20 feet high.
The amphitheater consists of several distinct loca-
tions within its expanse, as described below.

Environmental Conditions
The climactic encounter takes place at
night, albeit under the light of a (more
than) full moon. Exposed locations
have bright light illuminating
them. Locations without direct
overhead exposure to moonlight
are bathed in dim light and are so
indicated below.
In addition, large, burning braziers form
a perimeter around the amphitheater. Each
provides bright light for 30 feet and dim light
for an additional 30 feet beyond that. These
fires are hot but nonmagical.
The local temperature is chilly and only
slightly above freezing (around 38˚ F or 3˚C).
Unless the GM decides otherwise, the wind
currents remain mild and pose no problems to
either side in the battle.
Of note, the magic placed over the area can am-
plify the voice of any creature in the main per-
formance area (i.e., not the seating stands)
if they so choose. The magic projects their
voice clearly and loudly throughout the
entire amphitheater.

Floating Platforms
Fifteen mini-islands, each resembling a chunk of dirt
and rock scooped from out of the earth, hover at
above the ground at the start of this scene.
These platforms come in various sizes as
indicated on the map, ranging from 5 feet
square for the smaller ones (there are nine
of these) to 10 feet square for the larger
ones (of which there are six). One of them
(Area #4, below) hovers 60 feet above the
ground while the remainder hover 5 feet
above ground.
When a creature first steps on any
of these platforms, they receive a
telepathic message informing them
they can command the platform to
rise, descend, and/or move laterally
with a speed of 60. A creature controls
this movement by thinking the command melee reach of
as a bonus action. A platform cannot move another creature,
more than 60 feet in a single turn. If multiple crea- both creatures may
tures on a platform issue conflicting commands, they use their reaction to
each must make an Intelligence check. The platform make an opportunity
obeys the creature with the highest result that round. attack against each other.
If two creatures tie, the platform ignores both their As part of its movement, a platform can be
commands. commanded to collide with another. If this occurs,
If a platform with a creature on it moves out of the both creatures must succeed on a DC 15 Dexterity
65
Grand Finale
 saving throw or be pitched over the edge and fall. If
a platform descends on top of another creature, the
target creature on the lower platform must succeed
on a DC 15 Dexterity saving throw or suffer 17 (5d6)
bludgeoning damage and be knocked prone. Since
a platform functions with magic, it is considered a
“magical weapon” for purposes of damage resistanc-
es and immunities.
Dispel magic cast on a platform causes the plat-
form to plummet to the ground. The platform suffers
no damage, but any creatures on it at the time suffer
falling damage. The platform’s magic returns after
1 minute but it does not rise from the ground until a
creature on it commands it to do so.
Storm of Rage
When the Ashen
Lords summoned
the King in
Yellow, they
expected to ac-
quire the magic
necessary to
achieve immor-
tality. Instead,
they opened
their world up
to the coming of
Hastur the Unspeakable.
No living creature survived for
long—including even the greatest of
the Ashen Lords. Their final, desper-
ate battle against Hastur took place
near the Cradle of Myths.
In their final moments before
death, the Ashen Lords experi-
enced hatred, bitterness, and
rage the likes of which they’d
never felt. Each lord’s death left
behind a small but potent psychic
imprint. Individually, these imprints
were weak, but in the aggregate, the
rage of several thousand lords became
strong. Although this “storm” has faded over
the past centuries, its remnants still dwell around
the amphitheater. It incorporates both psychic and
necrotic energies.
One of the PCs can, if they choose, ally themselves
with this storm against their common foe. Although
the storm cannot defeat Ishvani or the King in Yellow
by itself, it can aid the PCs in their fight. On the
downside, the storm isn’t concerned about collateral
damage and has no use for finesse. The storm rep-
resents a blunt, crude, but effective weapon. Allying
with this storm of rage means dealing with the dark
energies of hundreds of cruel, evil, and malignant
spirits belonging to a species responsible for the
demise of their own world. The PC makes a Faustian
bargain if they enlist the storm’s power.
66
Grand Finale
As described in the text, the storm reaches out to
each PC telepathically, speaking in a chorus of angry
voices. The PCs do not know the source or intent
of the voices. Each character can decide at any time
during this episode to communicate with the voices
in return or ignore it.
If a PC responds to the telepathic voices, they have
a choice: accept a temporary alliance with whatev-
er has contacted them or refuse the alliance. If the
character agrees to the alliance, the storm measures
their worth. The character must succeed on a DC 15
ability check of their choice of Intelligence, Wisdom,
or Charisma. If they fail, the storm breaks contact
and never communicates with that character again,
deeming them worthless. If the PC succeeds, they
become telepathically linked to the storm until
they choose to terminate contact. Ending con-
nection with the storm is a free action and is
permanent.
Once any PC agrees to an alliance with the
storm and passes the “test,” the storm breaks
off communication with the other characters
and only responds to the PC it allied with.
The PC in question can ignore or refuse
to communicate with the storm of rage,
but this doesn’t end the connection
formed between the two. The con-
nected PC receives a
random insanity
(SPCM 76) with
a strength of
DC 20. This
sanity remains
even after the
PC breaks all
contact with the
storm.
Each round as
an action, the PC
that agreed to the
alliance can call upon one
of the storm’s powers. Each time they so, they open
themselves to the storm’s corrupting, adverse influenc-
es and must succeed on a DC 15 Wisdom saving throw
or gain one level of dread. In addition, each round the
PC uses one of the storm’s powers or remains affected
by a power (such as state of madness), the character
has their hit point maximum reduced by 14 (4d6). The
PC can only recover these losses by completing a long
rest. If the PC drops to 0 hit points, they die.
The storm expects the controlling PC to unleash
its fury against either the King in Yellow or Ishvani; it
has no interest in helping or protect allies or saving
lives. If the PC connected to the psychic storm wants
to perform an action other than using the storm’s
abilities against the King in Yellow (or Ishvani), the
PC must first succeed on a DC 15 Wisdom saving
throw in order to do so.
As an action, the PC allied with the storm can have
it perform one of the following actions:
◊  Sever undead control. The storm allows the com-
manding PC to try and sever the control the King
in Yellow has over undead (such as the ghouls) on
the field. If the entity has undead under its com-
mand, the PC can neutralize the King’s control
over some of those undead; as an action, the PC
can use the power of the storm to force a number
of undead up to the PC’s spellcasting ability mod-
ifier plus their proficiency bonus to make a DC 15
Wisdom saving throw, permanently severing an
undead creature’s connection to the King in Yellow
on a failure. These undead no longer consider the
King an ally or friend. The storm cannot, however,
sever the King’s control over the rotting servitors.
◊  Control undead. The PC can use the storm to
control undead on the field until the start of the
character’s next turn. This power affects only
undead still uncontrolled or those who’ve had
their connection to the King in Yellow severed
(see above). The PC takes control of undead with
a combined challenge total of 8 or lower (for
example, this equals 8 ghouls or the wight plus
5 ghouls). These ghouls become friendly to the
controlling PC and the PC’s allies. These undead
act on their own turn and use their own actions.
If the PC wishes to maintain control over these
undead, the PC must use their action each round
to do so. The PC can even command these undead
to attack the King in Yellow (ordinarily, undead
are friendly to the King and do not attack it unless
attacked first).
If other undead appear on the field for any rea-
son (such as if someone dies, in which case the
King in Yellow’s Elder Influence animates them
on the entity’s side), the PC can use the storm
to first sever the King’s control over them (see
above) and then gain control over them so long as
the total challenge rating of all controlled undead
doesn’t exceed 6. The storm cannot control the
King’s rotting servitors.
◊  Greater restoration (3 uses). The PC casts this
spell upon themselves or another creature by
touch. Once this power has been used three times,
it cannot be used again.
◊  Energy Bolt. The PC fires a bolt at a target they
can see within 120 feet. The PC makes a ranged
spell attack using the ability score they used to
pass the storm’s test; if they hit, their target takes
16 (3d10) of their choice of necrotic or psychic
damage.
◊  Psychic healing. This power heals 4d6 damage
sustained by the PC or any creature they can see
within 120 feet. Alternatively, the target may make
a new saving throw against any charmed or fright-
ened effect against the original DC.
◊  Shockwave. The PC casts a variant of thunder-
wave in a 15-foot cube in front of their space.
On a failed DC 20 Constitution saving throw,
Further Adventures
If the GM intends on continuing a campaign
with these characters after they defeat the King
in Yellow, the Storm of Rage may be an effective
future plot thread.
When the PC telepathically connected to the
storm leaves this world and this plane to return
home, the storm piggybanks along for the ride.
Thus, the PC brings a psychic force of malevolent
spirits back to their world. Given the fact the
Ashen Lords were amoral slavers who practiced
necromancy and felt no empathy for other
creatures, the storm could be a dangerous threat
over time.
each creature in the area of effect takes 22 (5d8)
the caster’s choice of necrotic or psychic dam-
age. This shockwave pushes creatures failing
their save 10 feet away from the PC. Although
this effect produces a sound, it is the sound of
a thousand screams instead of the sound of
thunder.
◊  State of madness. The PC goes temporarily
insane, changing their perceived version of
reality. They become immune to being frightened
or charmed while in this state, and they gain
advantage on Intelligence and Wisdom saving
throws. During this time, the PC cannot cast
spells or concentrate on them and they cannot
use any other powers provided by the storm.
The PC can, however, still use magic items and
class features. They can still communicate with
their allies as normal (although they likely sound
somewhat unhinged when they do). If the PC
wishes to end the madness, they must succeed
on a DC 20 Wisdom saving throw to do so. If the
saving throw fails, they remain in the state of
madness. The PC can attempt this save again at
the start of each of their turns. While in the state
of madness, the PC ignores any levels of dread
it has, though the dread does not go away. Once
the PC ends this madness, they gain one level of
dread, which lasts until they are away from the
storm and complete a long rest.
◊  Teleport. The PC teleports from their current
location to another location they can see within
120 feet.
The PC knows the storm’s capabilities through the
telepathic link. This telepathic link functions so long
as the PC and the storm are on the same plane.
The moment the King in Yellow appears on the bat-
tlefield, it knows about the existence of this psychic
cloud and understands the cloud’s nature. If someone
uses the storm during the battle, the King targets the
commanding PC.
67
Grand Finale
 Two Roads Diverged in a Yellow Wood
How this final encounter plays out depends on either
the characters’ choice now—to attack before Ishvani
completes her ritual performance or else to wait until
the Yellow King manifests—or else the preponder-
ance of their choices in the previous two episodes,
such as if they did not arrive in time. The GM has the
final say as to whether the PCs must make the choice
or not.
If the PCs start the encounter before the comple-
tion of the play, they face Ishvani and her two hench-
men, but not the King in Yellow’s avatar (at least not
initially). The details of this encounter are described
below (see And So It Begins, page 71). This offers a
substantially easier battle for the characters, but they
can only achieve a pyrrhic victory at best: if the PCs
win, they defeat Ishvani but not the King. When they
return to Tiarazan, they still must track him down
and start the process over again while their enemy
goes to work on its next chosen host.
If, however, the PCs allow Ishvani to complete her
performance, summon the King in Yellow, and merge
into one entity, the PCs face a different, more chal-
lenging encounter. If they win, however, they defeat
the true enemy and save Tiarazan.
Should the PCs get to choose? To decide if the
PCs arrive before the play is complete, the GM
should consider how efficiently and quickly the PCs
made their way through the Tzekes mansion and then
the Halls of the Dead. If they expended a reasonable
amount of time but maintained a somewhat urgent
pace, they should be allowed to make the choice
about when to launch the encounter.
If, however, the characters dragged their feet, took
too much time moving through the past two acts, or
took anything longer than a short rest in this act, then
they have no choice. They arrive at the amphitheater
just as the King in Yellow appears and possesses
Ishvani for the final time.
Area Descriptions
1. Southern Entrance
As the path approaches your destination, it cuts
through the rocky ridge surrounding the entire
amphitheater. The Cradle of Myths sits within a
shallow depression surrounded by the ridge.
At the opening of the path stand two white
marble statues of tall, gaunt humanoids each clad
in robes and gripping a staff in one hand—repre-
sentations of the Ashen Lords.
This pathway travels through a small valley and con-
nects the Halls of the Dead with the Cradle of Myths,
a walk of about ten minutes.
68
Grand Finale
2. Back Wall
A stone wall forms a semi-circle at the west end
of the amphitheater. It stands over sixty feet tall.
At its foundation, it is no more than four or five
feet thick, and it tapers as it rises.
When this place served as an amphitheater and place
for spectacle, this enormous stone wall helped direct
sound. It also provided a backdrop upon which illu-
sion magic could display backgrounds, colored lights,
images, and so forth.
2. The Standing Dead
Two-dozen undead creatures, standing at stiff
attention awaiting orders, occupy the field in
several places.
Two-dozen unmoving ghouls occupy the field in vari-
ous places. Ishvani, using what she possessed of the
King in Yellow’s essence, animated these undead to
serve as a sort of audience. They were once servants
and soldiers of the Ashen Lords.
Creatures. As noted above, the 24 ghouls on the
field do not enter combat unless commanded by
someone to do so. Ishvani cannot command them,
but the King in Yellow can command a number of
ghouls equal to its CR (19 for the Princess incarna-
tion and 23 for the Empress manifestation).
Master of undeath. If a PC wields The Ten Thou-
sand Rod (page 109) from Chapter 2, they can use
it to command some of these ghouls; see the rod’s
description for details on how many undead the PC
can command at a time and what the limits of that
command are. If the King in Yellow has control over
undead, the PC must first use the rod to sever the
connection between an undead creature and the
King, as described below. Once this connection has
been severed, the King cannot command that undead
creature for the rest of the battle. Of note, undead
controlled by the PC wielding the rod ignore the King
in Yellow’s Blessing of the Yellow Sign ability—these
undead can attack the King even if not attacked by
the King first.
If the King has ghouls or other undead under its
command, the PC can neutralize the King’s control
over some of them; as an action, the PC can use the
rod to force a number of ghouls up to the PC’s spell-
casting ability modifier plus their proficiency bonus
to make a DC 15 Wisdom saving throw, permanently
severing their connection to the King in Yellow on a
failure. Note this action doesn’t give the PC control
over the undead—it only prevents the King from
commanding the selected undead for the rest of
the battle, and those undead are no longer friendly
toward the King. Uncontrolled ghouls resume acting
as noted in And So It Begins, below (page 71).
In addition, if a PC has accepted the help from the
psychic storm, they can use its powers to control any
 69
Grand Finale
 of the ghouls (see above for the powers the storm
grants).
Neither The Ten Thousand Rod nor the psychic
storm can affect the King in Yellow’s control over its
rotting servitors.
4. The Performer
Of all the flying platforms, this larger one hovers the
closest to the seating stands (Area 7, below). Ishvani
gives the entire solo performance of The King in Yellow
from here if possible, using the amphitheater’s magic to
project her voice throughout the place in proper dramat-
ic fashion. Once she completes her performance and
becomes one with the King in Yellow, the entity leaves
this platform if necessary or tactically prudent.
Ishvani’s performance. What the PCs see on this
flying platform depends on which scenario the PCs
encounter here. If they come before Ishvani com-
pletes her performance, the PCs see her atop the
platform, acting out the play. If the PCs arrive after
the King in Yellow possesses Ishvani, they see the
avatar in its pallid mask standing here.
So long as Ishvani chooses to continue her perfor-
mance, she remains on this flying platform if possi-
ble—she wants her creativity to be seen and heard.
Should the PCs pose too much a threat, however, she
moves to the most advantageous place she can reach.
Development. If Ishvani interrupts the ceremony
to deal with the PCs (see And So It Begins, below),
she can stay on this platform or move as makes
the most tactical sense. Should she interrupt the
summoning, then her primary motivation changes to
killing the PCs—they’ve interfered for the last time.
5. The Bodyguard
A muscular human wearing gaudy armor and
wielding a long spear and shield stands upon this
smaller flying platform. Despite the showiness of
his panoply, he looks determined and experienced
in combat.
This flying platform hovers about five feet away from
the larger platform holding Ishvani (or the King in
Yellow).
Creatures. Ishvani’s bodyguard, Barnabus (a
gladiator), stands on this platform and watches for
trouble. His job is to protect either Ishvani or, once
the King in Yellow appears, the King. He wears a ring
of jumping in case he needs to make a prodigious
leap. He holds absolute loyalty to Ishvani; while he
doesn’t like the idea of her becoming possessed, he’s
sworn an oath to serve the King in Yellow should that
come to pass.
If the PCs launch their attack while Ishvani is
giving her performance, Barnabus does everything in
his power to stop the intruders and protect her. If the
PCs attack once the King in Yellow has already pos-
sessed Ishvani, Barnabus still does his best to defend
the King, thus honoring Ishvani’s final command.
70
Grand Finale
6. Performance Field
An immense space lies between the seating
stands and the back wall. Two-dozen undead crea-
tures, standing at stiff attention awaiting orders,
occupy the field in several places.
A dozen or more chunks of earth and stone
float midair above the field. Most of them hover
a few feet high, while one of the larger such plat-
forms hovers about sixty feet from the ground.
The entire area between the seating stands and the
back wall serves as the stage and performance area
for the amphitheater.
Creatures. Altogether, 24 ghouls stand at atten-
tion in various places across the field. (For details
as to how these undead act during combat, And So
It Begins, page 71). Unless commanded to move or
attack, the ghouls do not enter the battle. The ghouls
do, however, attack any creature other than Ishvani
entering a space adjacent to them.
Development. Any creature on or above the field
can tap into magic allowing them to project their
voice throughout the amphitheater. A creature enter-
ing the field immediately knows this magic is at their
disposal. While she gives her performance, Ishvani
uses this magic to project her voice throughout the
locale.
The stone and earth platforms are described
above. Ishvani Tzekes (or the King in Yellow, depend-
ing on which scene occurs) stands upon the highest
elevated platform (Area 4, above). Another, smaller,
platform, hovers almost as high near the larger one
(Area 5, above). Barnabus, Ishvani’s bodyguard,
stands on this chunk of rock.
A series of braziers filled with burning coals form a
perimeter around the entire amphitheater. Fashioned
of bronze, each brazier stands 4 feet in height with a
diameter of 3 feet. Knocking a brazier over requires
a DC 14 Strength check. The fire within each brazier,
while hot, isn’t magical.
Several statues stand in various places throughout
the amphitheater. Each statue depicts an important
Ashen Lord.
7. Seating Stands
The seating stands are constructed in a half-circle
with concentric rings, each ring elevated above
the one before it, with nine rings in all. Each ring
holds numerous seats. The higher the elevation,
the better the view of the amphitheater field.
When the amphitheater served as a gathering
place, these stands offered comfortable seating to
the audience. The bottom three rings, used by the
least among the Ashen Lords and their most valued
servants, feature the standard seating. Since many of
these individuals lacked magical prowess, they were
forced to take their seats by way of steps. Beyond the
bottom three rings, a person could not take a seat un-
less they climbed to them (most unbecoming) or used
magic (the proper and respected method). The more
important and powerful the individual, the higher
their seat on the stands.
Creatures. One of Ishvani’s allies, the cult mas-
termind (SPCM 405) named Ardat Lilitu, occupies
the third ring from the bottom toward the center. She
doesn’t attempt to hide her presence, but if combat
erupts, she uses the seats and the ring walls to gain
half cover from incoming attacks. Once a fight be-
gins, she uses her magic to either keep the intruders
away from Ishvani or, if appropriate to the
situation, defend the King in Yellow.
8. Dual Thrones
The two seats at the top tier
of the seating stands more
resemble ornate thrones for
royalty than anything else.
They offer a panoramic view
over the entire amphitheater.
Long ago, the two most powerful
members of the Ashen League occu-
pied these seats during performances
and other public events. They feature
magic designed to protect the people
sitting in them should they come under
attack.
Development. Potent
magic remains within
these two seats. While
a creature sits in one of
these seats, if any form of
energy or physical attack
targets them or includes
them in an area of effect,
a resilient sphere appears
to protect them. The sphere
last for 1 minute and then
dissipates. This effect can only
activate once per 24 hours.
And So It Begins…
Once the PCs enter the amphitheater by way of the
south entrance (Area 1), the scene begins in earnest.
As noted above, which scenario the PCs face depends
on some choices. If the PCs arrive before Ishvani com-
pletes her ritual, they can choose whether to attack
immediately, in which case they won’t have to face the
King in Yellow. Alternatively, the PCs can allow Ishvani
to complete her ritual and become one with the avatar,
after which they attack. If, on the other hand, the
PCs took too much time getting here, they have no
choice—they must face the King in Yellow from the
outset. Thus, how this scene opens depends on which
situation the PCs find themselves in.
The opening for each of the two versions of this
scene opening are described below.
Early Arrival
If the PCs arrive before Ishvani completes her ritual,
read or paraphrase the following when the PCs first
arrive on scene:
A lanky humanoid wearing shreds of clothing
stands at the opening to the arena. It sways as if
unsteady on its feet, and it holds its head cocked
at an unnatural angle. The thing lifts its gaze
toward you and makes an awkward bow in
your direction.
Creatures. The greeter is a
wight. It doesn’t attack the PCs
unless they attack it first. Once
it closes to within 20 feet of
the party, it speaks. Read or
paraphrase the following:
“Pleased you could make
it—the mistress has been
expecting you. I’m to escort
you, if you’ll follow me.”
The wight turns and lurches for-
ward in the direction of the center
of the field (Area 5, below). If the
PCs refuse to follow, it
stops in its tracks and
waits for them. Either
way, Ishvani contin-
ues performing The
King in Yellow.
If the PCs choose not
to enter the amphitheater by
way of the path, then they do not
encounter the wight. The GM should
describe the scene before them and let them
decide what actions to take next.
The Performance. The GM can decide just how
close Ishvani is at this moment to completing her per-
formance. If she needs a minute or more to complete
the ritual when the PCs attack, she stops performing
and instead focuses on destroying her enemies.
If Ishvani is in the final stages of her ritual, the GM
can roll 1d10 to determine how many rounds she
needs to complete the performance and thus how
she reacts to the PCs’ arrival. As a guide, if she can
complete her ritual in 1 to 2 rounds, she spends her
action each round continuing the performance to its
conclusion. If she needs 4 or more rounds to reach
completion, she needs to defend herself—she likely
cannot survive that many rounds without fighting
back.
Creatures. Should Ishvani need but 1 or 2 rounds
to finish her performance, it falls on her two minions
(see below) to buy her the time and protect her.
71
Grand Finale
 In this scenario, the PCs encounter the following
enemies:
◊  Ishvani Tzekes (page 84). She stands upon one of
the larger flying platforms (Area 4), reenacting The
King in Yellow as a one-woman performance. If she
completes her performance, she becomes the King
in Yellow’s avatar (see Later Arrival, below), heal-
ing half of all damage she has sustained thus far.
◊  A
 cult mastermind (SPCM 405) named Ardat
Lilitu. She holds position in the third ring from
the bottom in the seating stands (Area
7), using the low wall and surrounding
seats to provide half cover. Ardat once
led a Yellow Sign Cult in a different
city, but that cult suffered annihila-
tion. She doubts whether Ishvani is
the best host for the King in Yellow
and believes the honor should be
hers instead.
◊  Ishvani’s personal body-
guard, a gladiator named
Barnabus. He stands on a
smaller flying platform
(Area 5), keeping both
eyes open for dangers
to his mistress or to
the King in Yellow. If
he needs to move closer to
Ishvani, he can either order
his platform to do so or
he can make long leaps
thanks to the ring of
jumping he wears.
◊  I n all, 24 ghouls
stand at attention
in different places
across the field.
Ishvani possessed
enough of the
King in Yellow’s
essence to
have raised
these ghouls
(who were
once living crea-
tures on this world),
but she lacks the
ability to control
them. If a creature
other than Ishvani
enters a ghoul’s
threatened area
(i.e., an adjacent
space), it attacks
but otherwise it
doesn’t move and
takes no actions
throughout the
battle.
72
Grand Finale
◊  T
 he wight (Area 1) is on the field more to impress
and shock the PCs than fight as a combatant. If
any creature other than Ishvani enters its threat-
ened area, the wight attacks. Otherwise, it does
not move or fight during this combat.
Later Arrival
In this scenario, Ishvani has only moments before
she completes her ritual. When she does, the King in
Yellow appears and takes possession of its new host.
Read or paraphrase the following when the PCs first
arrive on scene:
An eerie, intrusive silence oppresses the amphi-
theater. The air feels charged as if anticipating
a thunderstorm, and it leaves a coppery taste in
your mouth.
Ishvani stands on one of the floating rock
platforms, suspended some sixty feet from the
ground. A tall, emaciated figure in flowing, tat-
tered yellow robes materializes next to her—the
King in Yellow has arrived. It removes its mask and
shows Ishvani its face, but you cannot see what
she witnesses.
She screams in terror until her voice becomes
strangled and tinged with madness. The King in
Yellow places its hands on Ishvani’s head, after
which its body dissolves into a cloud of pale
motes. The motes rush through Ishvani’s mouth
and eyes until she absorbs the entirety of the
King’s essence.
The PCs have limited time to act. The King in Yellow
stands alone upon one of the larger stone platforms
(Area 4, see above). The characters must attack
the entity and defeat it before it leaves the Cradle
of Myths. If the King departs, it returns to Tiarazan,
bringing with it the city’s doom, and doom for the
world. If the King leaves and the PCs take too much
time returning to the Tzekes mansion, they could end
up trapped on this alien world in an alternate materi-
al plane (see Aftermath: Defeat!, below).
Creatures. In this scenario, the PCs face the
following enemies:
◊  The King in Yellow. Which version the PCs face
depends on several factors. Each time the avatar
appeared in previous episodes, its next more pow-
erful version appeared, with its Empress incarna-
tion (the fourth) being last and most powerful of all.
The first and weakest appearance of the King was
the Countess incarnation. During the King’s second
incarnation, the PCs faced the Marquess.
For this episode, the PCs are most likely to
face the third version, the Princess (page 91) or
the fourth and final incarnation, the Empress
(page 93). The appendix includes the stats for both
versions.
If the characters haven’t participated in previous
acts, the GM must decide which version they en-
counter—either the Princess or the Empress being
most suitable as challenges.
◊  A
 cult mastermind (SPCM 405) named Ardat Lil-
itu. She holds position in the seating stands (Area
7, above) somewhere in the third ring. She uses
the low wall and surrounding seats to provide
half cover. Ardat once led a Yellow Sign Cult in a
different city, but that cult suffered annihilation.
Once she sought to be the King’s avatar, but now
that Ishvani has incarnated the King, Ardat will do
all she can to see the King’s will enacted.
◊  Ishvani’s personal bodyguard, a gladiator named
Barnabus. He stands on a smaller flying platform
(Area 5, see above), keeping both eyes open for
dangers to his mistress or to the King in Yellow.
He is elated but also disturbed to see his mistress
achieve her dream, and now he will protect the
King at all costs. If he needs to move closer to de-
fend his charge, he can either order his platform
to move or he can make long leaps thanks to the
ring of jumping he wears.
◊  I n all, 24 ghouls stand at attention in different
places across the field. Through its influence,
the King in Yellow can command some of these
ghouls at the start of the King’s turn each round
(this requires no action); how many the King can
control depends on its CR. The Princess incarna-
tion (CR 19) can command up to 19 ghouls on any
given round, while the Empress (CR 22) can com-
mand up to 22 ghouls at a time. These undead act
on their turn to fulfill the King’s commands. If the
battle is going in the entity’s favor, it doesn’t bother
issuing commands to the ghouls, leaving them
where they stand.
◊  The King in Yellow can command the wight (Area
1, above), but doing so lowers how many ghouls
the King can control (the wight counts as three
ghouls). The wight is on the field more to impress
and shock the PCs than fight as a combatant. If
left alone and issued no orders, the wight remains
on the field but doesn’t attack.
Aftermath: Victory!
If the characters defeat Ishvani before she summons
the King in Yellow, read or paraphrase the following:
Ishvani unleashes a death scream filled with rage,
agony, and loss. She screams to the stars, but they
stare back, unblinking and uncaring. Her body
erupts in a column of yellow-tinged flames. In a
few heartbeats, nothing remains of her besides a
pile of ash.
The face and the Yellow Sign displayed upon
the surface of the moon fade, then vanish. A blan-
ket of silence covers the amphitheater.
Something brushes the edge of your conscious-
ness. In its passing, it leaves you with a sense of
unease and an unresolved tension. You won the
battle, but you can’t shake the feeling the war
rages on.
The Final Conflict
The battle between the PCs and their enemies
involves several moving pieces and unusual
components, including a final villain with a complex
stat block and many powers to choose from. The
tactics the characters use and the goal they seek
remain in their hands. How everyone else in the
fight performs falls on the GM’s shoulders. Here
are some suggestions for how to run this battle
and what tactics Ishvani, the King in Yellow, and the
two cultists might utilize. All by herself, Ishvani has
a complicated stat block; when she becomes the
avatar of the King in Yellow, things only become
more complex.
Flying Platforms. If the PCs and the bad guys use
these platforms and zoom around the battlefield,
the GM may wish to use notecards or slips of paper
to represent these as a visual reference. This way,
the GM or the players can write the elevation of
each platform on the paper to help keep track of
things.
Location. For the most part, Ishvani remains
on her platform over the field the entire time she
gives her performance and conducts the ritual. If
the PCs threaten her with serious harm, she moves
to escape or relocate if necessary. Once the King
in Yellow appears and merges with Ishvani, they go
anywhere on the field of combat that makes tactical
sense.
Resistances and Immunities. The King in Yellow
has numerous special abilities, resistances, and
immunities to track. The GM should take time to
read over the King’s stat block and make special
note of the most important defenses and powers.
It’s easy to forget a resistance or immunity in
the heat of play. See the avatar’s statistics in the
appendix for additional suggestions.
The Undead. The undead on the performance
field only activate and enter the battle in certain
circumstances or if the King in Yellow commands
it—or if a PC wielding The Ten Thousand Rod
commands it. The GM should generally consider
most of the undead more like a series of minor
obstacles or potential threats rather than
combatants. If a PC lands in their midst (such as
after falling off a flying platform), the undead within
10 feet of them attack. The King in Yellow activates
only as many undead as necessary at any given time.
The GM can adjust how many undead enter the
fight at any time; using fewer of them makes the
battle easier to manage, using more of them ramps
up both the complexity and the challenge for the
characters.
If the ghouls do enter the battle, individually they
pose little threat to any combatants on the field. In
groups, however, the ghouls can aid each other’s
attacks and attempt to grapple an opponent at the
same time, thus making them more dangerous.
73
Grand Finale
 The PCs have won a major victory, but the King still Reducing the Hastur Track
maintains tendrils connected to Tiarazan and other
potential hosts. In this case, the GM can decide how Throughout this act, the PCs have several ways of
long it takes for the King in Yellow to launch its next reducing the count on the Hastur Track. This could
attempt. It might take weeks, months, or even years prove critical with regard to the final encounter in
before the entity against threatens the city, which Chapter 4. If the PCs face off against a lower power
could in turn draw the PCs back again. version of the King in Yellow, their chance of victory
If, on the other hand, the PCs witness the King rises dramatically.
in Yellow possess Ishvani and still manage to defeat ◊  Keep Pallavi Ruza alive during the ambush (2
their combined might, read or paraphrase the follow- counts).
ing instead: ◊  Obtain the Ten Thousand Rod (5 counts).
The King in Yellow hisses and screeches in both ◊  A
 cquire the Ten Thousand Rod without killing the
its own voice and in that of Ishvani. It stumbles high priest of the Irisian temple (2 counts).
one, two, three steps and then it erupts into a ◊  Successfully use the canting urns to break up one
cloud of pale motes of dust and tattered yellow or more mobs (4 counts).
robes. A thunderous shockwave washes over you ◊  Save some of the Drunken Crows from death at
and fills your nostrils with the stench of decay. the hands of the Honored Dead (1 count).
When the eruption fades, a calm silence covers
the arena. Where the King in Yellow once stood, ◊  Leave the Tzekes mansion and enter the Halls of
only his pallid mask remains. the Dead (3 counts).
◊  Exit the Halls of the Dead (3 counts).
◊  Retrieve the Sword of Unmasking (6 counts).
Aftermath: Defeat!
The PCs can fail in one of several possible ways as Conclusion
described below.
This concludes Act III of Have You Found It? Assum-
Total party kill. The adventure ends abruptly in
ing the PCs were victorious and saved Tiarazan, they
defeat. Ishvani becomes one with the King in Yellow
have reason for celebration and relief. The defeat of
and they return to Tiarazan unopposed. Their influ-
the King in Yellow doesn’t only save one city, it saves
ence brings ever-worsening madness and chaos to
countless others across the world.
the city. Thousands of people die, hundreds of others
Unfortunately, as is often the case when fighting
form a new Yellow Sign Cult. Other heroes must rise
the Mythos, winning this battle represents only a
to the challenge and oppose the King.
brief reprieve from the next and more dangerous
The King in Yellow escapes. The PCs need to
encounter. In this case, the King in Yellow has been
make their way back through the Halls of the Dead
defeated, but once he manifests on a world, it always
and into the Tzekes mansion as fast as possible. If
presages the coming of Hastur the Unspeakable.
they succeed in this, they return to Tiarazan only to
Thus, the PCs have won a victory, but the war contin-
find the city in worse shape than when they left. They
ues.
must find the King and force another confrontation
Act IV of Have You Found It? jumps into the future.
with it before the city falls into total ruin. This scenar-
The heroes, either the PCs that survived this act or
io represents more of a setback than a defeat.
new characters, learn of unsettling things occurring
The King in Yellow escapes and severs the di-
in the city of Tiarazan. Facing the King in Yellow was
mensional connection to this plane. Once the King
challenging; opposing Hastur offers a challenge on
in Yellow/Ishvani return to the Tzekes mansion, they
an entirely different level, one guaranteed to push
untether the dimensional chain. Within a handful of
the heroes to the absolute limits of their strength,
minutes, this returns the mansion to its home plane
determination, and sanity.
and forever severs the connection to the realm of the
Ashen Lords. If this is a possibility, the GM needs to
decide how long it takes before this occurs. If it does Experience Points
occur, then the PCs are trapped on a dead and alien By the end of Chapter 4 and the conclusion of Act
world in an alternate plane while their enemy enjoys III, the PCs gain enough experience to reach 12th
free reign in Tiarazan. The PCs may or may not level.
have a way back to their home plane via some spell
or magic item. If they don’t, this ends the adventure.
The GM may allow the PCs to dig up a relic allowing
them to return to their plane, at which point they
must still deal with the King in Yellow and save the
city.

74
Grand Finale
 Appendix: NPCs, Monsters, and Items of
Interest
The NPCs included in this adventure possess a wider
range of skills compared to those found in most ad-
ventures. With a few exceptions, these NPCs are often
involved in social interactions with the PCs rather
than only as combatants or enemies. When it comes to
NPCs, what they know and how well they know it are
often more important than their hit points or Armor
Class. NPC combat statistics are included here in case
the GM needs them and because player characters
often do predictably unpredictable (and violent) things.

Non-Player Characters

Amadicia, Leader
of the Quicksilvers
Following the death of the former Quicksilver leader,
Nilima, Amadicia, assumed leadership. Since then,
she’s demonstrated her cunning, intelligence, and
ability to sway people to her way of thinking. Al-
though she favors talking to fighting, she’s a skilled
combatant and she understands that one sometimes
must resort to violence to make a point.
Amadicia has pale but sunburnt skin, reddish hair
with a tinge of gold to it, and a smattering of freckles
along her nose and cheeks. She’s a tall, muscular
woman with an intimidating demeanor.
Although she’s loyal to the Quicksilvers, Amadicia’s
true loyalties lie with Ishvani Tzekes. Their friendship to Ishvani—a brutal fact Amadicia has come to un-
helped Amadicia become faction leader. Unfortunate- derstand in the wake of recent events. She no longer
ly, Amadicia’s loyalty and devotion didn’t mean much knows what to do or what comes next.

Leadership (Recharges after a Short or Long Rest). For 1

Amadicia minute, Amadicia can utter a command or warning when
Medium humanoid (human), neutral evil a nonhostile creature she can see within 30 feet of her
makes an attack roll or a saving throw. The creature can
Armor Class 13 (chain shirt) add a d4 to its roll provided it can see and understand
Hit Points 82 (11d8+33) Amadicia. A creature can only benefit from one Leadership
die at a time. The effect ends if Amadicia becomes
Speed 30 ft. incapacitated.
STR DEX CON INT WIS CHA
16 (+3) 10 (+0) 16 (+3) 10 (+0) 14 (+2) 17 (+3) Actions
Multiattack. Amadicia makes three melee attacks.
Saves Str +4, Con +5
Scimitar. Melee Weapon Attack: +5 to hit, reach 5 ft.,
Skills Athletics +5, Deception +5, Intimidation +5, Percep- one target. Hit: 6 (1d6+3) slashing damage. In addition,
tion +4 if Amadicia hits one target with two scimitar attacks, she
Senses passive Perception 14 inflicts an additional 7 (2d6) slashing damage.
Languages Common, Thieves’ Cant Dagger. Melee or Ranged Weapon Attack: +5 to hit, reach
5 ft. or range 20/60 ft., one target. Hit: 5 (1d4+3) piercing
Challenge 3 (700 XP) damage.
75
Non-Player Characters
Dark Devotion. Amadicia has advantage on saving throws
against being charmed or frightened.
 Adira, City Watch
Lieutenant
Although she’s only been part of the Watch for a year,
Adira’s demonstrated a remarkable ability for deesca-
lating situations and keep everyone around her calm.
As a result, she achieved the rank of lieutenant in
short order. She has found it difficult to work within
the confines of the Watch since the organization
remains beholden to so many different masters; this
is especially problematic since she refuses bribes.
Adira is a young woman with dark skin and close-
cropped brown hair. She stands a few inches over five
feet and has a sturdy, athletic build.

Keen Hearing and Sight. Adira has advantage on Wisdom

Adira (Perception) checks that rely on hearing or sight.
Medium humanoid (human), lawful neutral
Resolute. Adira has advantage on saving throws against
Armor Class 16 (scale and shield) being charmed or frightened.

Hit Points 58 (9d8+18) Actions

Speed 30 ft. Multiattack. Adira makes two melee attacks or two ranged
STR DEX CON INT WIS CHA attacks.
14 (+2) 10 (+0) 14 (+2) 11 (+0) 12 (+1) 16 (+3) Scimitar. Melee Weapon Attack: +4 to hit, reach 5 ft., one
target. Hit: 5 (1d6+2) slashing damage.
Skills Athletics +4, Intimidation +5, Perception +3, Persua-
Spear. Melee or Ranged Weapon Attack: +4 to hit, reach 5
sion +5
ft. or range 20/60 ft., one target. Hit: 5 (1d6+2) piercing
Senses passive Perception 13 damage, or 6 (1d8+2) if used with two hands to make a
Languages Common melee attack.

Challenge 3 (700 XP)

Unit Tactics. Adira has advantage on an attack roll against
a creature if at least one of her allies is within 5 feet of the
target and the ally isn’t incapacitated.
Action Surge (Recharges after Short or Long Rest). On her
turn, Adira can take one additional action.
Reactions
Parry. Adira adds 2 to her AC against one melee attack that
would hit her. She must be able to see the attacker and be
wielding a melee weapon.

76
Non-Player Characters
Braiham Tzekes,
Family Patriarch
The head of the Tzekes family has spent his life
collecting relics and rare objects from the past,
especially magical ones. He also dabbles in collect-
ing art, although more for the prestige this pursuit
offers than any appreciation for art. He has traveled
to many distant lands and has thus collected a wide
variety of unusual curios. During his travels, he
became a warlock with the Elder Influence
pact—something he sees as a mutually ben-
eficial business arrangement more than
anything else. His arrogance and sense of
superiority prevented him from realizing
what his youngest daughter, Ishvani, was
doing and how. By the time Braiham re-
alized what she’d done, it was too late for
him to stop her. He must now live with
the knowledge that one of his children
doomed the entire family to destruction.
Braiham is a tall, slender man with a
narrow, angular face and dark skin. In
spite of being in his late 50s, his hair
remains raven-black with a prominent
widow’s peak.

77
Non-Player Characters

Braiham Tzekes (Elder Influ-
ence Pact)
Medium humanoid (human), neutral evil
Armor Class 12 (15 with mage armor)
Hit Points 71 (13d8+13)
Speed 30 ft.
STR DEX CON INT WIS CHA
8 (-1) 15 (+2) 12 (+1) 16 (+3) 16 (+2) 20 (+5)
Saving Throws Wis +6, Cha +9
Skills Deception +9, History +7, Intimidation +9, Percep-
tion +6, Persuasion +9
Senses darkvision 120 ft., passive Perception 16
Languages Aklo, Common, Draconic, Elvish, Undercom-
mon
Challenge 9 (5,000 XP)
Alien Perspective. Braiham has advantage on saving
throws against effects that would cause his actions to
be determined by a die roll or by other creatures (e.g.,
confusion or symbol (insanity)). He also has advantage
on saves against effects that would give him the charmed
condition, frightened condition, madness, insanity, or one
or more levels of dread.
Devil’s Sight. Braiham can see normally in darkness, both
magical and nonmagical, to a distance of 120 feet.
Eldritch Sight. Braiham can cast detect magic at will,
without expending a spell slot.
Dimensions Unfathomed. When Braiham damages a target
with a warlock cantrip, it teleports to an unoccupied space
he chooses that isn’t hazardous to it and that he can see
within 10 feet of it.
Spellcasting (Pact Magic). Braiham Tzekes is a 13th-level
spellcaster. His spellcasting ability is Charisma (spell save
DC 19, +11 to hit with spell attacks). He has three 5th-
level slots, which he regains after finishing a short or long
rest, and knows the following warlock spells:
Cantrips (at will): (4 known): eldritch blast, friends, hold
person, mage hand, prestidigitation
1st–5th level: banishment, blight, blink, charm person,
clairvoyance, confusion, dimension door, dispel magic,
greater invisibility, hold monster, identify, illusory script,
mist of R’lyeh (SPCM 109), planar binding, remove
curse, rope trick, scrying, see invisibility, shadow of the
nightgaunt (SPCM 113), suggestion, teleportation circle
Mystic Arcanum (2/Day). Braiham can cast the following
spells once each without expending a spell slot: flesh to
stone, force cage.
Trickster’s Escape (Recharges after a Long Rest). Braiham
can cast freedom of movement on himself without
expending a spell slot.
Cosmic Loophole. Braihim’s reach with melee weapon
attacks and melee warlock spell attacks increases by 5
feet. The range of any warlock spell of 5th level or lower he
78
Non-Player Characters
casts and any ranged weapon attack he makes is doubled.
Special Equipment. Braiham carries a rod of the pact
keeper (+2). The adjustments for this magic item are
already included in his stats. He can spend an action to
regain 1 warlock spell slot while wielding this rod. He must
complete a long rest to recharge this property.
Actions
Armor of Shadows (Recharges after a Short or Long Rest).
Braiham casts mage armor on himself.
One with Shadows. While in dim light or darkness, Braiham
can become invisible. He remains so until he moves or
takes an action or reaction.
Dagger. Melee or Ranged Weapon Attack: +6 to hit, reach
5 ft. or range 20/60 ft., one target. Hit: 4 (1d4+2) piercing
damage.
Reactions
Dimensions Unfathomed (1/Day). When Braiham is hit
by an attack, he can use his reaction to twist space. If he
would have been out of reach or range of the attack if he
were twice as far away as he actually is, the attack misses.
If doubling the distance would move Braiham from normal
range to long range and the attack didn’t already have
disadvantage, the attacker makes a new attack roll and uses
that result if it is worse than the original attack roll.
Lair Actions
The Tzekes mansion labors under a dimensional shifting
effect that makes movement unpredictable for most
creatures. Since this is his home, Braiham can control and
manipulate certain physical elements within his mansion
as described below.
When fighting within his mansion, Braiham can manipulate
reality to take lair actions. On initiative count 20 (losing
initiative ties), Braiham takes a lair action to cause one of
the following effects:
Alter Distance. As a bonus action, Braiham can distort
physical dimensions. He picks a space he can see within
60 feet that is up to 30 feet long and 10 feet wide. He
then decides what the actual distance between him and
the chosen area is, to a minimum of 5 feet and a maximum
of 120 feet. This effect lasts until the start of Braiham’s
next turn or he can end it as a bonus action.
Alter Structure. As a bonus action, Braiham can add or
remove a doorway from a space he can see within 30 feet.
He can remove a door, transforming that space into wall,
or he can add a functional door. He can only add a door to
part of an existing wall. A created door functions like most
doors in the mansion and is affected by the dimensional
shifting. A removed or created door returns to its previous
state after 1 minute.
Dimension Door. As a move, Braiham can change his
location to anywhere in the mansion except rooms 19 and
20 on the ground floor and room 13 on the second floor.
He doesn’t need to move through doors to go from room
to room.
Eileen Lakshmi
Starting at the age of 14 and for a decade thereafter,
Eileen worked as a personal maid servant to Anush-
ka and Ishvani Tzekes, essentially growing up as they
matured. During this period of time, she became
close friends with both sisters—or at least as close
as a member of the servant class could ever hope
to get to heiresses of the main mercantile fami-
lies. She played with the sisters, helped them get
dressed and made look presentable, and
listened when they needed someone to com-
plain to. As often happens with servants, her
presence was frequently overlooked, which meant
she heard a great many salacious, juicy details and
gossip. The moment Ishvani felt she couldn’t trust
Lakshmi, the servant knew her days were numbered.
Lakshmi stands a few inches short of six feet tall
and has a thin, almost gaunt build. She has light
skin, deep brown eyes, and cropped hair that looks
like someone hacked it with a butcher knife (which is
exactly what happened when she entered prison).

Eileen Lakshmi
Medium humanoid (human), neutral

Armor Class 12
Hit Points 9 (2d8)
Speed 30 ft.

STR DEX CON INT WIS CHA

9 (-1) 14 (+2) 10 (+0) 13 (+1) 16 (+3) 17 (+3)

Skills Deception +5, Insight +5, Perception +5, Persuasion

+5
Senses passive Perception 15
Languages Common
Challenge 0 (10 XP)

Actions
Improvised Weapon. Melee Weapon Attack: +4 to hit, reach
5 ft., one target. Hit: 4 (1d4+2) bludgeoning, piercing, or
slashing damage.

79
Non-Player Characters
 Errimac, Watch
Captain
Errimac has served on the City Watch for more than
a decade, and he’s served as a watch captain for
three of those years. During that time, he’s acquired
a tendency toward pessimism, and suspicion of other
people’s motives, but at the same time he still tries to
help people and stop crimes.
Since an increasing number of Errimac’s duties
involve paperwork and supervision, he’s started to
put on some pounds but he remains in good shape.
He has dark tan skin with a strong nose and a rugged
look. He is mostly bald, with only fringes of gray hair
along the sides of his head.

Errimac, Watch Captain

Medium humanoid (human), lawful good

Armor Class 18 (chain mail and shield)

Hit Points 71 (11d8+22)
Speed 30 ft.

STR DEX CON INT WIS CHA

16 (+3) 10 (+0) 15 (+2) 15 (+2) 14 (+2) 14 (+2)

Saves Str +4, Con +5

Skills Intimidation +5, Insight +5, Investigation +5, Percep-
tion +5, Persuasion +5
Senses passive Perception 15
Languages Common
Challenge 5 (1,800 XP)

Action Surge (Recharges after Short or Long Rest). On his

turn, Errimac can take one additional action.
Keen Hearing and Sight. Errimac has advantage on Wisdom
(Perception) checks that rely on hearing or sight.
Resolute. Captain Errimac has advantage on saving throws
against being charmed or frightened.

Actions
Multiattack. Errimac makes three melee attacks.
Scimitar. Melee Weapon Attack: +6 to hit, reach 5 ft., one
target. Hit: 6 (1d6+3) slashing damage.
Dagger. Melee or Ranged Weapon Attack: +6 to hit, reach
5 ft. or range 20/60 ft., one target. Hit: 5 (1d4+3) piercing
damage.

80
Non-Player Characters
 Father Emil
Lukaris, High
Priest of Irisia
For over twenty years, Emil Lukaris fought as a
mercenary with the Golden Lions company. He
earned a reputation for being a canny but ruthless
leader with the knack for knowing the enemy’s plans
before they did. After two decades of bloodshed with
little to show for it other than a true understanding of
death, he retired as a soldier and entered seminary in
the faith of Irisia, goddess of death. For the past two
decades, he has served the temple in Tiarazan, rising
through the hierarchy to become high priest last year.
In spite of his change in profession and his age,
he retains his old strength and strong, grizzled face
frozen into a permanent, judgmental scowl. He has
dark black skin marred in many places by old scars,
including one across his nose and left cheek.

3rd level (3 slots): bestow curse, crusader’s mantle,

Father Emil Lukaris, High dispel magic, mass healing word, speak with dead, spirit
Priest of Irisia guardians
Medium humanoid (human), lawful neutral 4th level (3 slots): banishment, blight, freedom of
movement, stoneskin
Armor Class 18 (plate armor)
5th level (1 slot): enervation, flame strike, greater
Hit Points 110 (17d8+34)
restoration, hold monster
Speed 30 ft. Special Equipment. Lukaris wields The Ten Thousand
STR DEX CON INT WIS CHA Rod as a two-handed weapon with a +3 bonus to attacks
17 (+3) 11 (+0) 15 (+2) 13 (+1) 18 (+4) 15 (+2) and damage. See the rod’s description for its powers and
capabilities.
Saving Throws Con +6, Wis +8
Skills Athletics +7, Insight +8, Intimidation +6, Medicine Actions
+8, Perception +8, Religion +5 Multiattack. Lukaris makes two attacks with The Ten
Thousand Rod.
Senses passive Perception 18
The Ten Thousand Rod. Melee Weapon Attack: +10 to
Languages Common, Draconic
hit, reach 5 ft., one target. Hit: 13 (2d6+6) bludgeoning
Challenge 9 (5,000 XP) damage.

Priest of Death. Father Lukaris can cast each of the
following spells once per day without expending a spell
slot: speak with dead, death ward, and circle of death.
Spellcasting. Father Lukaris is a 9th-level spellcaster. His
spellcasting ability is Wisdom (spell save DC 16, +8 to
hit with spell attacks). He has the following cleric spells
prepared:
Cantrips (at will): guidance, resistance, sacred flame, spare
the dying
1st level (4 slots): bless, command, divine favor, guiding
bolt, shield of faith
2nd level (3 slots): aid, blindness/deafness, hold person,
ray of enfeeblement, spiritual weapon, silence
Death Touch. Melee Spell Attack: +8 to hit, reach 5 ft., one
creature. Hit: 14 (3d6+4) necrotic damage and the target
must succeed at a DC 16 Constitution saving throw or
have their hit point maximum reduced by an amount equal
to the damage they took. If a creature’s hit point maximum
is reduced to 0, it dies.
Reactions
Deadly Strike (Recharges after Short or Long Rest). When
he makes a melee attack, Father Lukaris can call upon his
goddess for true aim. He gains a +10 bonus to an attack
roll. He can add this bonus before or after he rolls his
attack.

81
Non-Player Characters
82
Non-Player Characters
 Gamina
Goldenbrook
Growing up as orphans on the streets of Tiarazan
taught hard lessons to Goldenbrook and her partner
in crime, Joorma Quickhands. They learned to trust
one another and to assume no one else would help
them or save them. Together, they formed a routine
wherein she used her voice to enrapture audienc-
es while Quickhands relieved them of their coin
pouches. Her life changed when a new bardic troupe,
the Drunken Crows, arrived in the city, and she felt
the overpowering desire to join them. Although her
friend doesn’t understand her reasons for joining, he’s
remained at her side as a matter of course.
Goldenbrook has dark tan skin, light brown hair,
and piercing green eyes. She’s taller and more
muscular than Quickhands, and she considers it her
responsibility to protect him from a cruel world.

Cantrips (at will): friends, message, vicious mockery

Gamina Goldenbrook 1st level (4 slots): charm person, disguise self, hideous
Medium humanoid (human), chaotic evil
laughter, silent image, thunderwave
Armor Class 15 (studded leather) 2nd level (3 slots): enhance ability, suggestion
Hit Points 36 (8d8) Taunt. Goldenbrook can use a bonus action on her turn
to target one creature within 30 feet of her. If the target
Speed 30 ft.
can hear her, it must succeed on a DC 14 Charisma saving
STR DEX CON INT WIS CHA throw or have disadvantage on ability checks, attack rolls,
10 (+0) 16 (+3) 10 (+0) 11 (+0) 12 (+1) 18 (+4) and saving throws until the start of Goldenbrook’s next
turn.
Saves Dex +5, Wis +3
Skills Acrobatics +5, Deception +8, Performance +8, Actions
Sleight of Hand +5 Rapier. Melee Weapon Attack: +5 to hit, reach 5 ft., one
Senses passive Perception 10 target. Hit: 6 (1d6+3) piercing damage.

Languages Common, Thieves’ Cant
Challenge 2 (450 XP)
Spellcasting. Goldenbrook is a 4th-level spellcaster. Her
spellcasting ability is Charisma (spell save DC 14, +6 to
hit with spell attacks). She has the following bard spells
prepared:
Shortbow. Ranged Weapon Attack: +5 to hit, range
80/320 ft., one target. Hit: 6 (1d6+3) piercing damage.
Mesmerizing Voice (3/Day). When Goldenbrook sings,
she can imbue her voice with magical qualities like the
enthrall spell. The effect ends if Goldenbrook becomes
incapacitated or can no longer speak.

83
Non-Player Characters
 Ishvani Tzekes
The youngest daughter of Braiham Tzekes and
younger sister to Anushka Tzekes, Ishvani has al-
ways been the family’s most talented scholar and
artist. Despite this, she has always taken great
care to laud her sister’s abilities at the expense of
her own. Ishvani comes across as somewhat shy
but energetic, intelligent but naïve, and temper-
amental. When she informed her parents of her
desire to become a musician or, worse yet, an
actor, they punished her until she relented. In
private, however, she found other ways to explore
her creative nature and became a disciple of
Molleus the Eye.
Ishvani is intelligent, cunning, and good at
planning. At the same time, her inexperience
can lead her to make incorrect decisions when
time doesn’t allow planning. Ishvani is a slightly
plump, pretty young woman with flowing black
hair, dark tan skin, and expressive eyes.
Ishvani has established a significant network
of spies, minions, and supporters throughout
the city. She maintains contact with members
of this network through a variety of means. She
has several personal servants who deliver her
messages without question. She can cast animal
messenger to get a note to one of her agents in
the city within an hour’s time. Finally, should she
choose, she can spy on or follow anyone unseen
by wearing the lesser pallid mask with its Unde-
tectable Presence ability.
Ishvani is a recurring villain and the focal point
of the King in Yellow’s presence and activity in
Tiarazan. When the avatar manifests, it does so
through Ishvani if at all possible. As the adven-
tures progress, Ishvani quickly grows in power
and experience as she receives visions and signs
from the King to help guide her schemes.
84
Non-Player Characters
Ishvani Tzekes
Medium humanoid (human), neutral evil
Armor Class 13 (18 with mage armor, ring of protection)
Hit Points 170 (20d8+80)
Speed 30 ft.
STR DEX CON INT WIS CHA
10 (+0) 16 (+3) 18 (+4) 20 (+5) 18 (+4) 22 (+6)
Saves Dex +9, Wis +10, Cha +12
Skills Arcana +15, Deception +11, History +10, Investigation
+10, Perception +9, Perform +16, Persuasion +16, Yog-So-
thothery +13 (SPCM 37)
Condition Immunities blinded, charmed, deafened, fright-
ened, petrified, stunned
Senses darkvision 60 ft., passive Perception 19
Languages Aklo, Common, Draconic, Elvish
Challenge 14 (11,500 XP)
Aberrant Insights. Ishvani can expend one use of Bardic
Inspiration to improve her Wisdom and Charisma checks
made to interact with aberrations, fiends, monstrosities,
oozes, and undead. She rolls d12 and adds the number rolled
to all Wisdom and Charisma checks she makes to interact
with one such creature or a group of such creatures for 10
minutes. She can communicate simple concepts with the
chosen creature or group as part of attempting the check,
even if she lacks a common language.
Bardic Inspiration (7 times, Recharges after Short or Long
Rest). Ishvani can inspire others with her words or music.
As a bonus action, she can choose one creature other than
herself within 60 feet of her that can hear her. That creature
gains a d12 Bardic Inspiration die.
Once within the next 10 minutes, the creature can roll the
die and add the number rolled to one ability check, attack
roll, or saving throw it makes.
Cutting Insights. While wearing the lesser pallid mask,
Ishvani has advantage on all Intelligence- and Wisdom-based
checks.
Eldritch Symbolism. Ishvani can quickly identify symbols
and writings. She has advantage on Intelligence (Arcana),
Intelligence (Investigation), and Wisdom (Perception)
checks to notice, identify, or bypass magical writing and
magic traps. She has advantage on saving throws against
magic traps and the effects of magic items.
In addition, Ishvani can expend a use of Bardic Inspiration as
an action to cast glyph of warding without consuming the
material components. She must still expend a spell slot. She
rolls her Bardic Inspiration die and adds the number rolled to
the DC of any Intelligence (Investigation) check to find her
glyph.
Fearless. As long as Ishvani is attuned to the lesser pallid
mask, she is immune to being charmed or frightened.
Continued on Page 85
 85
Non-Player Characters

Ishvani Tzekes (continued)
Masked Resilience. As long as Ishvani remains attuned
to the lesser pallid mask, she can’t be blinded, deafened,
petrified, or stunned.
Ring of Eibon (3 charges). While wearing this ring, Ishvani
can’t be surprised and she gains advantage on initiative
rolls. As a bonus action, Ishvani can speak the ring’s
command word and spend 1 charge to focus her future
sight. Until the start of her next turn, attack rolls against
her are made with disadvantage and she has advantage on
attack rolls, ability checks, and saving throws. If she uses
the Ready action on her turn, she doesn’t need to specify
an action that will trigger her reaction.
Spellcasting. Ishvani is a 20th-level spellcaster. Her
spellcasting ability is Charisma (spell save DC 19, +11 to
hit with spell attacks). She knows the following spells:
Cantrips (at will): eldritch blast, message, minor illusion,
vicious mockery
1st level (4 slots): charm person, hex, lethargy of
Tsathoggua (SPCM 106), mage armor, mist of R’lyeh
(SPCM 109)
2nd level (3 slots): crown of madness, enthrall, hold
person, ray of enfeeblement, suggestion
3rd level (3 slots): glyph of warding, lure byakhee (SPCM
106) song of Hastur (SPCM 114), Yellow Sign (SPCM 116)
4th level (3 slots): black tentacles, third eye masterpiece
(SPCM 115)
5th level (3 slots): bind byakhee (SPCM 93), dominate
person, mislead
6th level (2 slots): grace of the King in Yellow (SPCM 103),
eyebite, mass suggestion
7th level (2 slots): contrary melody (SPCM 99), force cage
8th level (1 slot): feeblemind, pipes of madness (SPCM
110)
9th level (1 slot): weird
Undetectable Presence. While Ishvani wears the lesser
pallid mask, observers do not notice her presence unless
she interacts with them personally. Even interactions
between her and other noticed creatures do not alert
observers to Ishvani’s presence. Once someone interacts
86
Non-Player Characters
with her, that person can observe Ishavni normally until
the following dawn. This feature does not hide Ishvani
from senses other than vision, hearing, and scent.
Unnatural Presence. While attuned to the lesser pallid
mask, animals within 30 feet of Ishvani become hostile
toward her.
Yog-Sothothery Philosopher. Ishvani can expend one
Bardic Inspiration die and add the number rolled to a
Wisdom (Yog-Sothothery) check she made after she makes
the check.
In addition, if she fails a saving throw that applied the
penalty from the Yog-Sothothery skill, she can expend
one use of Bardic Inspiration at the start of her next turn
if the effect is still going and she is conscious, even if she
is incapacitated or prevented from controlling her own
actions. She makes a new save and adds the number rolled
on her Bardic Inspiration die to the result of her saving
throw. On a success, the effect ends but she can’t take a
bonus action that turn.
Special Equipment. Cape of displacement, ring of
protection. Ishvani also wears the lesser pallid mask (SPCM
130) and the ring of Eibon (SPCM 128).
Actions
Rapier. Melee Weapon Attack: +8 to hit, reach 5 ft., one
target. Hit: 6 (1d6+3) piercing damage.
Dagger. Melee or Ranged Weapon Attack: +8 to hit, reach
5 ft. or range 20/60 ft., one target. Hit: 5 (1d4+3) piercing
damage.
Portrait of Perfect Likeness. Ishvani can imitate unnatural
creatures with perfect clarity through her art. As an
action, she can expend a Bardic Inspiration die instead of
expending a spell slot to cast polymorph. When she casts
the spell with this feature, she assumes the form of an
aberration or monstrosity instead of a beast. The aberration
or monstrosity must have a challenge rating less than or
equal 6 (one-third of her bard level). Once while the spell
lasts, she can roll the Bardic Inspiration die (d12) after
she hits with a weapon attack and add the result to the
damage.
Among her favored forms to transform into, Ishvani enjoys
changing into a byakhee (SPCM 287), a formless spawn
(SPCM 321), or a leng spider (SPCM 342).
Pallavi Ruza
The matriarch of the Ruza family for the past decade,
Pallavi has guided her family through the labyrin-
thine politics of Tiarazan and kept her family in its
rightful place in the social hierarchy. She represents
a traditionalist point of view with no interest in
progressive change or upsetting the city’s political
balance. She became leader of the Immemoriabilis
Society two years ago when her predecessor disap-
peared. Pallavi views the Society as a secret bulwark
against chaos and anarchy in her city, and she wields
the Society’s resources as a defender of “the way
things should be.” She despises Molleus and wants
to eradicate the Mummers, but of late she has turned
her focus to stopping the possessed mobs and pun-
ishing anyone associated with them.
Pallavi Ruza is an elegant, regal woman in her late
fifties with dark tan skin and light brown hair kept
tied in a braid. She has expressive but somewhat
judgmental brown eyes that never miss a detail.

do so before the roll, and she can replace a roll in this way
Pallavi Ruza once per turn.
Medium humanoid (human), lawful neutral
Spellcasting. Ruza is a 7th-level spellcaster that uses
Armor Class 11 Intelligence as her spellcasting ability (spell save DC 14,
+6 to hit with spell attacks). Ruza has the following wizard
Hit Points 49 (9d8+9) spells prepared:
Speed 30 ft. Cantrips (at will): light, message, minor illusion,
prestidigitation
STR DEX CON INT WIS CHA
8 (-1) 10 (+0) 13 (+1) 18 (+4) 17 (+3) 15 (+2) 1st level (4 slots): charm person, comprehend languages,
detect magic, protection from evil and good
Saving Throws Int +6, Wis +5 2nd level (3 slots): blindness/deafness, detect thoughts,
Skills Arcana +6, History +6, Investigation +6, Perception hold person
+5, Yog-Sothothery +5 3rd level (3 slots): fireball, haste
Senses passive Perception 15 4th level (1 slot): black tentacles
Languages Aklo, Common, Elvish
Challenge 3 (700 XP)
Actions
Dagger. Melee or Ranged Weapon Attack: +3 to hit, reach
Portent. At the start of each day, Ruza rolls two d20s. She 5 ft., one target. Hit: 3 (1d4+1) piercing damage.
can replace any attack roll, saving throw, or ability check
she makes by one of these two rolls. She must choose to

87
Non-Player Characters
 Pallminya, Acolyte
of Irisia
Although Pallminya grew up in a minor noble family,
her position as the youngest of three children meant
she could expect no inheritance or major role in
family affairs. She joined the faith of Irisia, goddess
of death, more out of her desire to choose something
uncomfortable to her family than anything else.
Pallminya is a stocky young woman with dark skin,
cropped black hair, and hazel eyes. Her eyes reveal
the world-weariness of someone older and more
mature than her eighteen years might suggest.

Pallminya, Acolyte of Irisia

Medium humanoid (human), neutral

Armor Class 10
Hit Points 49 (9d8+9)
Speed 30 ft.

STR DEX CON INT WIS CHA

10 (+0) 10 (+0) 12 (+1) 13 (+1) 16 (+3) 11 (+0)

Skills Medicine +5, Religion +3

Senses passive Perception 12
Languages Aklo, Common, Elvish
Challenge 2 (450 XP)

Spellcasting. Pallminya is a 5th-level spellcaster. Her

spellcasting ability is Wisdom (spell save DC 13, +5 to
hit with spell attacks). She has the following cleric spells
prepared:
Cantrips (at will): light, sacred flame, thaumaturgy
1st level (4 slots): bless, cure wounds, sanctuary
2nd level (3 slots): aid, calm emotions, hold person
3rd level (2 slots): beacon of hope, dispel magic

Actions
Mace. Melee Weapon Attack: +2 to hit, reach 5 ft., one
target. Hit: 3 (1d6) bludgeoning damage.

88
Non-Player Characters
 Riya Tzekes
Before Riya married Braiham, the wealth and influ-
ence of the Tzekes family was on the wane after a
number of failed investments. Riya, born and raised
by a teacher and a scribe, brought a sharp mind and
impressive skills to the Tzekes family, elements that
allowed her to restore the family fortune. Although
she loved Braiham through their first twenty years
of marriage, her husband has changed for the worse
these past five years. He’s become obsessed with
trips to distant lands, and he spends staggering sums
of gold to purchase antiquities and old books. He’s
ceased having any interest in the mercantile busi-
ness.
For now, Riya carries on her responsibilities
as lady of the estate. She manages finances and
continues growing the business. With the death of
her daughter, Anushka, and the strange changes in
personality her youngest daughter has demonstrat-
ed, Riya Tzekes now wonders if she belongs there
anymore.
Riya Tzekes is a somewhat short and stout matron-
ly woman in her early fifties. She has dark black skin,
big brown eyes, and black hair she keeps tied back.
Despite her short stature, she emanates presence
and demands respect. One dark look from her is
enough to unnerve anyone daring to displease her.

Riya Tzekes
Medium humanoid (human), lawful neutral

Armor Class 11
Hit Points 36 (8d8+8)
Speed 30 ft.

STR DEX CON INT WIS CHA

8 (-1) 13 (+1) 12 (+1) 18 (+4) 17 (+3) 17 (+3)

Skills History +6, Insight +7, Investigation +8, Perception +5,

Persuasion +5, Religion +6
Senses passive Perception 15
Languages Common, Elvish
Challenge 0 (10 XP)

Special Equipment. Riya Tzekes carries a staff of healing.

Actions
Dagger. Melee or Ranged Weapon Attack: +3 to hit, reach
5 ft. or range 20/60 ft., one target. Hit: 3 (1d4+1) piercing
damage.

89
Non-Player Characters
 The King in Yellow
Avatar
Regardless of the incarnation of the King in Yellow to
manifest, they appear as a tall, gaunt humanoid, their
face hidden behind a pale mask layered with strips
of peeled flesh. They wear the tattered remnants of a
long, yellow robe; these strips of cloth undulate and
flow as if each has a life of its own.
Two versions of the avatar are detailed below,
each one more powerful than its predecessor. Each
time the avatar is summoned, its next more powerful
(i.e., higher challenge rating) version appears. The
versions described below are based upon possessing
the body and mind of Ishvani Tzekes.

The King in Yellow Avatars

Any avatar of the King in Yellow is powerful and possesses many abilities and options. This can make the avatar
challenging for the GM to play in the middle of combat, especially if the villains have multiple combatants
on their side. Several of the avatar’s abilities work together synergistically, which can also prove difficult to
remember during a fight scene. Consider the following when running the King in Yellow’s avatar:
Since Ishvani Tzekes wears the ring of Eibon, so too does the King in Yellow’s avatar when it possesses her.
The ring grants advantage on Dexterity ability checks and initiative rolls. This stacks with Ishvani’s Jack-of-all-
Trades class feature, granting the avatar a +3 bonus (one-half their proficiency bonus) to all ability checks and
initiative. Thus, the avatar has advantage on initiative checks and makes the roll with a significant bonus. Also,
the GM should keep in mind the ring’s future sight ability to impose disadvantage on attack rolls against the
avatar while granting the avatar advantage on attack rolls, ability checks, and saving throws. The avatar can use
this property three times in the battle.
The King in Yellow avatar possess the Bardic Inspiration feature. This allows them to impose considerable
influence on the battle; adding or subtracting (see the Cutting Words power) a d12 roll to someone else’s check
is a potent tool. The best use of Bardic Inspiration is for the avatar to identify their most dangerous enemy in the
fight and then enhance attacks on that target or use Cutting Words to reduce that target’s rolls. Since the avatar
can use this feature as its bonus action, reaction, legendary action, or all three, it can make life difficult for the
PCs.
The Cursed Tatters feature can affect almost any creature foolish enough to engage the avatar in melee
combat, especially monks using unarmed attacks or spellcasters using melee touch spells as they automatically
fail the saving throw against the Tatters. This becomes especially important because, as part of the King in
Yellow’s influence, it can use Rising of the Dead (SPCM 222); don’t forget that the limit on how many total
challenge ratings of undead the avatar can control at once must equal or be less than the avatar’s CR. A creature
affected by Cursed Tatters suffers disadvantage on any saving throw against spells or effects caused by an
undead that cause psychic damage, exhaustion, confusion, or the charmed or frightened condition. Together,
these are powerful abilities that can quickly overwhelm the PCs.
When it comes to saving throws, the avatar has several high save bonuses, and the GM should keep in mind
the avatar also has both the Magic Resistance and Legendary Resistance features, which can prevent some
extremely deleterious effects.
Finally, the tactics the avatar chooses have a tremendous effect on the battle. If the King in Yellow feels
playful, finds itself intrigued by the PCs, or wants to prolong the fight for its own amusement, then it uses
spells and attacks designed to weaken the PCs without killing them outright. If this occurs, it should become
obvious to the characters that the avatar is toying with them. If, on the other hand, the avatar considers the PCs
dangerous or they anger it, then it uses spells and other attacks designed to kill or eliminate enemies quickly. If
the characters inflict damage on the King in Yellow, then it feels more inclined to destroy them than allow them
to linger.

90
Non-Player Characters

The Princess (King in Yellow
Avatar)
Medium fiend (human, proxy), chaotic evil
Armor Class 23 (protective wrappings)
Hit Points 204 (24d8+96)
Speed 30 ft.
STR DEX CON INT WIS CHA
10 (+0) 18 (+4) 18 (+4) 20 (+5) 19 (+4) 22 (+6)
Saves Dex +10, Con +10, Wis +10, Cha +12
Skills Arcana +16, Deception +12, History +11, Investiga-
tion +11, Perception +10, Perform +18, Persuasion +18,
Yog-Sothothery +14 (SPCM 37)
Damage Immunities psychic
Damage Resistances bludgeoning, piercing, and slashing
Condition Immunities blinded, charmed, deafened, fright-
ened, paralyzed, stunned
Senses truesight 120 ft., passive Perception 20
Languages Aklo, Common, Draconic, Elvish
Challenge 19 (22,000 XP)
Aberrant Insights. The Princess can expend one use of
Bardic Inspiration to improve her Wisdom and Charisma
checks made to interact with aberrations, fiends,
monstrosities, oozes, and undead. They roll d12 and adds
the number rolled to all Wisdom and Charisma checks
they make to interact with one such creature or a group
of such creatures for 10 minutes. They can communicate
simple concepts with the chosen creature or group as
part of attempting the check, even if they lack a common
language.
Bardic Inspiration (7/Short or Long Rest). As a bonus
action, the Princess can grant an ally that can hear the
Princess a d12 if it doesn’t already have one. Once, within
10 minutes, the target can roll the die after rolling an
ability check, attack roll, or saving throw but before the
GM declares success or failure. The result is added to the
total.
Blessing of the Yellow Sign. The Princess is immune to
confusion and insanity effects that they weren’t already
under when the host became possessed by them (in
this case, Ishvani Tzekes). In addition, undead are always
friendly toward the Princess and never attack the Princess
unless attacked first.
Cursed Tatters. Whenever a creature makes a melee
weapon attack against the Princess or ends its movement
within 5 feet of the Princess, it must succeed on a DC 20
Dexterity saving throw or be touched by an animated
tatter of cloth and cursed. A creature that makes a melee
attack with an unarmed strike, touch-range spell, or natural
weapon automatically fails this saving throw.
Upon being touched, the creature’s dreams will forever
more be haunted by the Princess whispers and poisonous
Non-Player Characters
truths. The victim has disadvantage on all saving throws
against spells and effects created by the Princess or
any undead creature that deals psychic damage, causes
exhaustion, or causes confusion or the charmed or
frightened conditions. This curse lasts until dispelled by a
remove curse spell or similar magic.
Eldritch Symbolism. The Princess can quickly identify
symbols and writings. They have advantage on Intelligence
(Arcana), Intelligence (Investigation), and Wisdom
(Perception) checks to notice, identify, or bypass magical
writing and magic traps. They have advantage on saving
throws against magic traps and the effects of magic items.
In addition, the Princess can expend a use of Bardic
Inspiration as an action to cast glyph of warding without
consuming the material components. They must still
expend a spell slot. They roll their Bardic Inspiration die
and adds the number rolled to the DC of any Intelligence
(Investigation) check to find their glyph.
Ring of Eibon (3 charges). While wearing this ring, the
Princess can’t be surprised and gains advantage on
initiative rolls. As a bonus action, they can speak the
ring’s command word and spend 1 charge to focus their
future sight. Until the start of their next turn, attack rolls
against the Princess are made with disadvantage and the
Princess has advantage on attack rolls, ability checks, and
saving throws. If they use the Ready action on their turn,
they don’t need to specify an action that will trigger their
reaction.
Jack of All Trades. The Princess adds 3 (half their
proficiency bonus) to all ability checks that don’t already
include their proficiency bonus.
Influence. The Princess emanates the King in Yellow’s
influence and its effects.
Magic Resistance. The Princess has advantage on saving
throws against spells and other magical effects.
Legendary Resistance (3/Day). If the Princess fails a saving
throw, they can choose to succeed instead.
Protective Wrappings. The Princess wears no armor other
than its wrappings. These provide an AC bonus equal to 13
plus the avatar’s Dexterity and Charisma bonuses.
Regeneration. The Princess regenerates 20 hit points at
the start of their turn if they have at least 1 hit point.
Spellcasting. The Princess is a 20th-level spellcaster.
Their spellcasting ability is Charisma (spell save DC 20,
+12 to hit with spell attacks). They know the following
spells:
Cantrips (at will): eldritch blast, friends, minor illusion,
vicious mockery
1st level (4 slots): charm person, hex, lethargy of
Tsathoggua (SPCM 106), mist of R’lyeh (SPCM 109)
2nd level (3 slots): crown of madness, enthrall, hold
person, ray of enfeeblement, suggestion
3rd level (3 slots): glyph of warding, lure byakhee (SPCM
106) song of Hastur (SPCM 114), Yellow Sign (SPCM 116)
Continued on Page 92
91

The Princess (continued)
4th level (3 slots): black tentacles, third eye masterpiece
(SPCM 115)
5th level (3 slots): bind byakhee (SPCM 93), dominate
person, mislead
6th level (2 slots): grace of the King in Yellow (SPCM 103),
eyebite, mass suggestion
7th level (2 slots): contrary melody (SPCM 99), force cage
8th level (1 slot): feeblemind, pipes of madness (SPCM
110)
9th level (1 slot): weird
Unnatural Presence. Animals within 60 feet of the Princess
become hostile toward them.
Yog-Sothothery Philosopher. The Princess can expend
one Bardic Inspiration die and add the number rolled to
a Wisdom (Yog-Sothothery) check they make after they
make the check.
In addition, if they fail a saving throw that applied the
penalty from the Yog-Sothothery skill, they can expend one
use of Bardic Inspiration at the start of their next turn if
the effect is still going and they are conscious, even if they
are incapacitated or prevented from controlling their own
actions. They make a new save and add the number rolled
on their Bardic Inspiration die (d12) to the result of their
saving throw. On a success, the effect ends but they can’t
take a bonus action that turn.
Actions
Multiattack. The Princess makes two attacks with their
Decaying Touch.
Decaying Touch. Melee Spell Attack: +12 to hit, reach 10
ft., one creature. Hit: 17 (5d6) necrotic damage and 17
92
Non-Player Characters
(5d6) psychic damage. In addition, a creature affected
by this attack must succeed on a DC 20 Wisdom saving
throw or all their modes of movement are halved until the
end of their next turn.
Reactions
Cutting Words. When a creature that the Princess can
see within 60 feet of them makes an attack roll, an ability
check, or a damage roll, the Princess can use their reaction
to expend one of their uses of Bardic Inspiration, rolling a
d12 and subtracting the number rolled from the creature’s
roll. The Princess can choose to use this feature after the
creature makes its roll, but before the GM says whether
the attack roll or ability check succeeds or fails, or before
the creature deals its damage. The creature is immune if it
can’t hear the Princess or if it’s immune to being charmed.
Legendary Actions
The Princess can take 3 legendary actions, choosing from
the options below. Only one legendary action option can
be used at a time and only at the end of another creature’s
turn. The Princess regains spent legendary actions at the
start of their turn.
Bardic Inspiration. The Princess uses Bardic Inspiration.
Cast a Cantrip. The Princess casts a cantrip they know.
Cast a Middling Spell (Costs 2 Actions). The Princess casts
a spell they know of up to 3rd level, using a spell slot as
normal.
Decaying Touch. The Princess uses their Decaying Touch.
The King’s Voice. The Princess poses a question to a single
creature within 30 feet that can hear and understand them.
Unless the target succeeds on a DC 20 Charisma saving
throw, the target immediately answers the question as
truthfully and efficiently as possible.

The Empress (King in Yellow
Avatar)
Medium fiend (human, proxy), chaotic evil
Armor Class 23 (protective wrappings)
Hit Points 247 (26d8+130)
Speed 30 ft.
STR DEX CON INT WIS CHA
10 (+0) 18 (+4) 20 (+5) 20 (+5) 19 (+4) 22 (+6)
Saves Dex +11, Con +12, Wis +11, Cha +13
Skills Arcana +19, Deception +13, History +12, Investiga-
tion +12, Perception +11, Perform +20, Persuasion +13
Yog-Sothothery +18 (SPCM 37)
Damage Immunities psychic
Damage Resistances bludgeoning, piercing, and slashing
Condition Immunities blinded, charmed, deafened, fright-
ened, paralyzed, petrified, stunned
Senses truesight 120 ft., passive Perception 21
Languages Aklo, Common, Draconic, Elvish
Challenge 23 (50,000 XP)
Aberrant Insights. The Empress can expend one use of
Bardic Inspiration to improve her Wisdom and Charisma
checks made to interact with aberrations, fiends,
monstrosities, oozes, and undead. They roll d12 and adds
the number rolled to all Wisdom and Charisma checks
they make to interact with one such creature or a group
of such creatures for 10 minutes. They can communicate
simple concepts with the chosen creature or group as
part of attempting the check, even if they lack a common
language.
Bardic Inspiration (7/Short or Long Rest). As a bonus
action, the Empress can grant an ally that can hear the
Empress a d12 if it doesn’t already have one. Once, within
10 minutes, the target can roll the die after rolling an
ability check, attack roll, or saving throw but before the
GM declares success or failure. The result is added to the
total.
Blessing of the Yellow Sign. The Empress is immune to
confusion and insanity effects that they weren’t already
under when the host became possessed by them (in
this case, Ishvani Tzekes). In addition, undead are always
friendly toward the Empress and never attack the Empress
unless attacked first.
Cursed Tatters. Whenever a creature makes a melee
weapon attack against the Empress or ends its movement
within 5 feet of the Empress, it must succeed on a DC 21
Dexterity saving throw or be touched by an animated
tatter of cloth and cursed. A creature that makes a melee
attack with an unarmed strike, touch-range spell, or natural
weapon automatically fails this saving throw.
Upon being touched, the creature’s dreams will forever
more be haunted by the Empress whispers and poisonous
Non-Player Characters
truths. The victim has disadvantage on all saving throws
against spells and effects created by the Empress or
any undead creature that deals psychic damage, causes
exhaustion, or causes confusion or the charmed or
frightened conditions. This curse lasts until dispelled by a
remove curse spell or similar magic.
Eldritch Symbolism. The Empress can quickly identify
symbols and writings. They have advantage on Intelligence
(Arcana), Intelligence (Investigation), and Wisdom
(Perception) checks to notice, identify, or bypass magical
writing and magic traps. They have advantage on saving
throws against magic traps and the effects of magic items.
In addition, the Empress can expend a use of Bardic
Inspiration as an action to cast glyph of warding without
consuming the material components. They must still
expend a spell slot. They roll their Bardic Inspiration die
and adds the number rolled to the DC of any Intelligence
(Investigation) check to find their glyph.
Ring of Eibon (3 charges). While wearing this ring, the
Empress can’t be surprised and gains advantage on
initiative rolls. As a bonus action, they can speak the
ring’s command word and spend 1 charge to focus their
future sight. Until the start of their next turn, attack rolls
against the Empress are made with disadvantage and the
Empress has advantage on attack rolls, ability checks, and
saving throws. If they use the Ready action on their turn,
they don’t need to specify an action that will trigger their
reaction.
Jack of All Trades. The Empress adds 3 (half their
proficiency bonus) to all ability checks that don’t already
include their proficiency bonus.
Influence. The Empress emanates the King in Yellow’s
influence and its effects.
Legendary Resistance (3/Day). If the Empress fails a saving
throw, they can choose to succeed instead.
Magic Resistance. The Empress has advantage on saving
throws against spells and other magical effects.
Protective Wrappings. The Empress wears no armor other
than its wrappings. These provide an AC bonus equal to 13
plus the avatar’s Dexterity and Charisma bonuses.
Regeneration. The Empress regenerates 30 hit points at
the start of their turn if they have at least 1 hit point.
Spellcasting. The Empress is a 20th-level spellcaster. Their
spellcasting ability is Charisma (spell save DC 21, +13 to
hit with spell attacks). They know the following bard spells:
Cantrips (at will): eldritch blast, friends, minor illusion,
vicious mockery
1st level (4 slots): charm person, hex, lethargy of
Tsathoggua (SPCM 106), mist of R’lyeh (SPCM 109)
2nd level (3 slots): crown of madness, enthrall, hold
person, ray of enfeeblement, suggestion
3rd level (3 slots): glyph of warding, lure byakhee (SPCM
106) song of Hastur (SPCM 114), Yellow Sign (SPCM 116)
Continued on Page 94
93

The Empress (continued)
4th level (3 slots): black tentacles, third eye masterpiece
(SPCM 115)
5th level (3 slots): bind byakhee (SPCM 93), dominate
person, mislead
6th level (2 slots): grace of the King in Yellow (SPCM 103),
eyebite, mass suggestion
7th level (2 slots): contrary melody (SPCM 99), force cage
8th level (1 slot): feeblemind, pipes of madness (SPCM
110)
9th level (1 slot): weird
Unnatural Presence. Animals within 60 feet of the Empress
become hostile towards them.
Yog-Sothothery Philosopher. The Empress can expend
one Bardic Inspiration die and add the number rolled to
a Wisdom (Yog-Sothothery) check they make after they
make the check.
In addition, if they fail a saving throw that applied the
penalty from the Yog-Sothothery skill, they can expend one
use of Bardic Inspiration at the start of their next turn if
the effect is still going and they are conscious, even if they
are incapacitated or prevented from controlling their own
actions. They make a new save and add the number rolled
on their Bardic Inspiration die (d12) to the result of their
saving throw. On a success, the effect ends but they can’t
take a bonus action that turn.
Actions
Multiattack. The Empress makes three attacks with their
Decaying Touch.
Decaying Touch. Melee Spell Attack: +13 to hit, reach 10
ft., one creature. Hit: 21 (6d6) necrotic damage and 21
(6d6) psychic damage. In addition, a creature affected
94
Non-Player Characters
by this attack must succeed on a DC 21 Wisdom saving
throw or all their modes of movement are halved until the
end of their next turn.
Reactions
Cutting Words. When a creature that the Empress can
see within 60 feet of them makes an attack roll, an ability
check, or a damage roll, the Empress can use their reaction
to expend one of their uses of Bardic Inspiration, rolling a
d12 and subtracting the number rolled from the creature’s
roll. The Empress can choose to use this feature after the
creature makes its roll, but before the GM says whether
the attack roll or ability check succeeds or fails, or before
the creature deals its damage. The creature is immune if it
can’t hear the Empress or if it’s immune to being charmed.
Legendary Actions
The Empress can take 3 legendary actions, choosing from
the options below. Only one legendary action option can
be used at a time and only at the end of another creature’s
turn. The Princess regains spent legendary actions at the
start of their turn.
Bardic Inspiration. The Empress uses Bardic Inspiration.
Cast a Cantrip. The Empress casts a cantrip they know.
Cast a Middling Spell (Costs 2 Actions). The Empress casts
a spell they know of up to 3rd level, using a spell slot as
normal.
Decaying Touch. The Empress uses their Decaying Touch
attack.
The King’s Voice. The Empress poses a question to a single
creature within 30 feet that can hear and understand them.
Unless the target succeeds on a DC 21 Charisma saving
throw, the target immediately answers the question as
truthfully and efficiently as possible.
 95
Non-Player Characters
 Monsters

Crazed Mob
The Yellow Sign has eroded the sanity and well-being
of the people of Tiarazan over the past days. Where
once the Sign led to the formation of chanting, mes-
merized mobs of ordinary citizens, it now possesses
the power to create a new, more dangerous type
of mob, one that represents the culmination of the
madness.
A crazed mob consists of dozens of angry, scream-
ing people caught up in religious fervor. Not only
does this mob magically compel adjacent creatures
to join its mass, but every two rounds the crazed mob
spends chanting Hastur’s name and bystanders can
hear the chant, a new possessed mob (see below)
forms nearby. Anyone the crazed mob cannot convert
or infect with its madness becomes a target of its
wrath.

After a creature is no longer affected by the Mesmerizing

Crazed Mob
Gargantuan swarm of Medium humanoids (human),
chaotic evil
Armor Class 10
Hit Points 189 (14d20+42)
Speed 30 ft.
STR DEX CON INT WIS CHA
16 (+3) 10 (+0) 16 (+3) 6 (-2) 9 (-1) 14 (+2)
Damage Resistances bludgeoning, piercing, slashing
Condition Immunities charmed, frightened, grappled, para-
lyzed, petrified, prone, restrained, stunned
Senses passive Perception 9
Languages Common
Challenge 7 (2,900 XP)
Mesmerizing Chant. Each humanoid that can hear the
crazed mob when it starts its turn within 30 feet of the
crazed mob must succeed on a DC 13 Wisdom saving
throw or become charmed by the mob. A charmed
creature must spend its action that turn joining in the
chant. Each round a creature remains charmed, it speaks
Hastur’s name once. A charmed creature can repeat the
save at the end of each of its turns, ending the effect on
itself with a success. Once a creature succeeds at this
save, they become immune to the Mesmerizing Chant for
the next 24 hours. The mob does not attack any humanoid
affected by the chant. The chanting ends if the mob
dissipates or dies.
Chant, they must succeed at a DC 13 Wisdom saving
throw or gain one level of dread that lasts for one hour.
Swarm. The mob can occupy another creature’s space and
vice versa. The mob can move through any opening large
enough for a Medium humanoid. The mob cannot regain
hit points or gain temporary hit points.
Spawn Mobs. At the end of every other round, the
crazed mob’s chant has a 50% chance of forming a new
possessed mob (see below for stats) within 100 feet of
its position. The crazed mob can continue forming new
possessed mobs so long as a sufficient number of people
remain (at least 20 per mob) within hearing distance. The
possessed mob remains independent of the crazed mob.
Underfoot. A prone target that shares a space with the
mob cannot stand up unless it first succeeds on a DC 14
Strength (Athletics) or Dexterity (Acrobatics) check.
Actions
Multiattack. The crazed mob makes two pummel attacks
and one trample attack.
Pummel. Melee Weapon Attack: +6 to hit, reach 0 ft., one
target in the mob’s space. Hit: 30 (6d8+3) bludgeoning
damage, or 16 (3d8+3) bludgeoning damage if the mob
has half its hit points or fewer.
Trample. Melee Weapon Attack: +6 to hit, reach 0 ft., one
target in the mob’s space. Hit: 30 (6d8+3) bludgeoning
damage, or 16 (3d8+3) bludgeoning damage if the mob
has half its hit points or fewer. In addition, the target
creature must succeed at a DC 14 Strength saving throw
or be knocked prone and suffer an additional 10 (3d6)
bludgeoning damage.

96
Monsters
 97
Monsters
 Drowned Zombie
These undead sometimes arise when
a sailor or other individual has
drowned. They float in the
water where the died, until
a living creature enters the
water. When this happens,
the drowned zombie
bursts into violent action
to drag the creature to its
death in the depths.
A drowned zombie is a
bloated, waterlogged creature that
barely resembles how it appeared in life.
When it opens its mouth, water comes pour-
ing out in gouts. When it walks, it leaves behind
watery trails. Its flesh has turned pale and rubbery.

Undead Resilience. If damage reduces the drowned zombie

Drowned Zombie to 0 hit points, it then makes a Constitution saving throw
Medium undead, chaotic evil with a DC of 5 + the damage taken, unless the damage is
radiant or from a critical hit. On a success, the drowned
Armor Class 12 (natural armor) zombie drops to 1 hit point instead.
Hit Points 85 (9d8+45)
Speed 30 ft., swim 30 ft.
Actions
Multiattack. The drowned zombie makes two bite attacks
STR DEX CON INT WIS CHA and one Touch of the Drowned attack.
18 (+4) 12 (+1) 20 (+5) 8 (-1) 12 (+1) 6 (-2)
Bite. Melee Weapon Attack: +6 to hit, reach 5 ft., one
Damage Resistances bludgeoning damage from nonmagi- target. Hit: 8 (1d8+4) piercing damage plus 3 (1d6)
cal weapons; fire necrotic damage.

Damage Immunities cold, necrotic, poison
Condition Immunities charmed, exhaustion, poisoned
Senses darkvision 90 ft., passive Perception 11
Languages --
Challenge 4 (1,100 XP)
Grappler. The drowned zombie has advantage on attack
rolls against a creature they are grappling. The zombie can
swim its full speed even while it has a creature grappled,
bringing the grappled creature with it.
In addition, a drowned zombie can use its action to try and
pin a creature it is grappling. The drowned zombie makes
another grapple check; if it succeeds, both the zombie and
the grappled creature are restrained until the grapple ends.
Touch of the Drowned. Melee Weapon Attack: +6 to hit,
reach 5 ft., one target. Hit: 11 (2d6+4) necrotic damage.
The target must succeed on a DC 13 Constitution saving
throw or have its lungs fill with water. The affected
creature cannot speak, cannot cast spells with a verbal
component, and cannot activate magic items requiring it
to speak. If the creature is maintaining concentration on a
spell, it must make another Constitution saving throw with
the DC equal to 10 or half the damage they took from this
attack, whichever number is higher. If they fail this save,
they lose concentration.
At the start of each of the affected creature’s turns, it
makes another Constitution saving throw. If it fails, it gains
one level of exhaustion. If it succeeds, it spends its action
that round disgorging the water from its lungs and is no
longer affected.

98
Monsters
Enraged Horde
A new danger has arisen in the form of
ordered units of cultists indoctrinated into
the fold by the Yellow Sign and the spread
of the King in Yellow’s malignant influence.
An enraged horde includes dozens of men and
women magically compelled to join the Cult of
the Yellow Sign. This band of zealots wan-
ders the streets in search of new converts
as well as nonbelievers in need of
punishment.
Unlike the other types
of mobs, this unit operates
more like a squad of soldiers
operating in lockstep. It
acts, moves, and fights
with deliberate tactics and
intense focus. Making it
even more dangerous, the
enraged horde can unleash
individuals from the unit.
These individuals fly into
a berserk rage and attack
nearby enemies without
regard for their own lives.

Swarm. The enraged horde can occupy another creature’s

Enraged horde space and vice versa. The mob can move through any
Huge swarm of Medium humanoids (human), chaotic evil opening large enough for a Medium humanoid. The horde
cannot regain hit points or gain temporary hit points.
Armor Class 11
Underfoot. A prone target that shares a space with the
Hit Points 85 (9d12+27) mob cannot stand up unless it first succeeds on a DC 14
Speed 30 ft. Strength (Athletics) or Dexterity (Acrobatics) check.

STR DEX CON INT WIS CHA Actions

17 (+3) 12 (+1) 16 (+3) 8 (-1) 12 (+1) 14 (+2)
Multiattack. The enraged horde makes two improvised
Damage Resistances bludgeoning, piercing, slashing weapon attacks or two attacks with hurled rocks.

Condition Immunities charmed, frightened, grappled, para-
lyzed, petrified, prone, restrained, stunned
Senses passive Perception 10
Languages Common
Challenge 5 (1,800 XP)
Berserker. The horde can spawn a berserker once each
round, up to a total of 4 times. Each berserker is treated
as an individual and has its own turn, but it fights for the
benefit of the enraged horde. The berserker has a speed of
40 ft. It also has immunity to the frightened condition.
Improvised Weapon. Melee Weapon Attack: +6 to hit,
reach 0 ft., one target in the mob’s space. Hit: 21 (4d8+3)
bludgeoning damage, or 12 (2d8+3) bludgeoning and
slashing damage if the enraged horde has half its hit points
or fewer.
Hurled Rocks. Ranged Weapon Attack: +6 to hit, range
20/60 ft., one target. Hit: 17 (4d6+3) bludgeoning
damage, or 10 (2d6+3) bludgeoning damage if the
enraged horde has half its hit points or fewer.

99
Monsters
 Immemoriabilis
Society Agent
Although a relatively small organization, the So-
ciety employs a number of agents and enforcers
to carry out the dirty, bloody work sometimes
necessary to maintain the status quo. These
agents, often drawn from the best members
of the city watch or the city’s soldiers, are well
trained and equipped.
100
Monsters
Immemoriabilis Society Agent
Medium humanoid (human), lawful neutral
Armor Class 14 (chain shirt)
Hit Points 33 (6d8+6)
Speed 30 ft.
STR DEX CON INT WIS CHA
14 (+2) 12 (+1) 12 (+1) 10 (+0) 13 (+1) 11 (+0)
Skills Athletics +3, Stealth +3
Senses passive Perception 11
Languages Common
Challenge 1 (200 XP)
Defiant. The agent has advantage on saving throws to resist
being frightened.
Actions
Multiattack. The agent makes two melee attacks.
Longsword. Melee Weapon Attack: +4 to hit, reach 5 ft., one
target. Hit: 6 (1d8+2) slashing damage.
Javelin. Melee or Ranged Weapon Attack: +4 to hit, reach 5
ft. or range 30/120 ft., one target. Hit: 5 (1d6+2) piercing
damage.
 Condition Immunities. The infected has immunity to the
Infected charmed, exhausted, and poisoned conditions.

The multiverse includes countless parallel material
planes like the one in which we live. Some of these
material planes have succumbed to the destructive
power of the Great Old Ones, which has left them
shattered husks. One such plane was much like
ours until a cult successfully opened a gateway and
allowed one of the Great Old Ones into their reality.
This apocalypse led to the creation of a magical con-
tagion that spread unchecked through populations
and infected millions of creatures. Once the infected
had spread their disease to every living creature on
their world, they traveled to other dimensions where
they continue to unleash this plague.
No one knows for certain how many thousands of
worlds the infected have visited and destroyed. Once
the infected reach a new hunting ground, they spread
fast and so must be stopped as soon as possible. Any
humanoid, beast, or giant can become afflicted with
this disease if bitten by the infected. Once the victim
dies, they become undead and a plague carrier. The
disease imbues them with tremendous strength and
resilience.
An infected resembles how they appeared in life
except with pale skin grown almost translucent. They
often show many bite and scratch marks across their
body from when they were turned. Over time, they
lose their hair, grow fangs in place of teeth, and their
nails lengthen and sharpen like razor blades. Some
of the infected wander in search of new prey to infect,
while others of their kind fall into a torpor-like state
and only awaken if exposed to an auditory or visual
stimulus.
Languages. The Infected cannot speak or understand
languages.
New Trait: Pack Tactics. The Infected has advantage
on attack rolls against a creature if at least one of its
allies is within 5 feet of the creature and the ally isn’t
incapacitated.
New Weapon Attack: Bite. The Infected gains a bite
attack. This bite has the light and finesse qualities.
Its bite attack deals 1d6 base piercing damage. If the
creature already possessed a bite attack, its base damage
increases by one die. If the target is a beast, humanoid,
or giant, it must succeed on a Constitution saving throw
(with a DC equal to 8 + the creature’s Constitution
bonus + its proficiency bonus) or acquire the Infection.
At the end of every hour, the diseased creature must
make another Constitution saving throw or have their
hit point maximum reduced by 5 (1d10). The reduction
continues every hour until the creature makes its
Constitution save or it reaches 0 hit points, at which
point it dies and then rises as one of the Infected an
hour later.
New Weapon Attack: Claw. The Infected gains a claw
attack. This attack has both the light and finesse
qualities. The claw attack deals 2d6 slashing damage.
If the creature already possessed a claw attack, its claw
attack damage increases by one die of base damage.

Infected Template
Any beast, humanoid, or giant can become one of the
Infected. It keeps its statistics, except as described
below.
Challenge. The creature’s challenge rating increases by
1. If the creature starts with a rating less than 1, increase
the rating to 1.
Type. The infected’s type is undead.
Alignment. The infected’s alignment changes to chaotic
evil.
Ability Scores. Increase the infected’s Strength by 4, and
its Constitution by 2. Decrease its Intelligence by 2 to a
minimum of 3, and decrease its Charisma by 2.
Senses. The infected gains darkvision with a range of 60
feet unless it already had darkvision.
Speed. The creature moves with incredible speed. Its
walking speed is increased by 10 ft.
Damage Resistances. The infected has resistance to cold
and necrotic damage.
Damage Immunities. The infected has immunity to
poison damage.
101
Monsters
 against a creature if at least one of its allies is within 5 feet
Infected of the creature and the ally isn’t incapacitated.
Medium undead, chaotic evil

Armor Class 10
Actions
Multiattack. The Infected makes one bite attack and one
Hit Points 52 (8d8+16) claw attack.
Speed 40 ft., climb 20 ft. Bite. Melee Weapon Attack: +5 to hit, reach 5 ft., one
STR DEX CON INT WIS CHA target. Hit: 6 (1d6+3) piercing damage plus 2 (1d4)
16 (+3) 11 (+0) 14 (+2) 8 (-1) 10 (+0) 7 (-2) necrotic damage. If the target is a beast, humanoid, or
giant, it must succeed on a DC 12 Constitution saving
Damage Resistances cold, necrotic throw or acquire the Infection. At the end of every
hour, the diseased creature must make another DC 12
Damage Immunities poison Constitution saving throw or have their hit point maximum
Condition Immunities charmed, exhaustion, poisoned reduced by 5 (1d10). The reduction continues every hour
until the creature makes its Constitution save or it reaches
Senses darkvision 60 ft., passive Perception 10
0 hit points, at which point it dies and then rises as one of
Languages -- the Infected an hour later.
Challenge 2 (450 XP) Claws. Melee Weapon Attack: +5 to hit, reach 5 ft., one
target. Hit: 10 (2d6+3) slashing damage.
Pack Tactics. The infected has advantage on attack rolls

102
Monsters
 Infected Mastiff
The infected can pass their disease to humanoids as
well as beasts when they are able to catch them. This
is a large dog turned to become one of the infected.
From a distance it still resembles a mastiff, but at closer
range it shows bite and claw marks on its hide, which
has sloughed off in several places to reveal grayish
muscle underneath. The mastiff has blood-red
eyes.

Infected Mastiff
Medium undead, chaotic evil Pack Tactics. The infected mastiff has advantage on attack
rolls against a creature if at least one of its allies is within 5
Armor Class 12 feet of the creature and the ally isn’t incapacitated.
Hit Points 32 (5d8+10)
Speed 50 ft. Actions
Bite. Melee Weapon Attack: +5 to hit, reach 5 ft., one
STR DEX CON INT WIS CHA target. Hit: 10 (2d6+3) piercing damage. If the target
17 (+3) 14 (+2) 14 (+2) 3 (-4) 12 (+1) 5 (-3) is a creature, it must succeed on a DC 13 Strength
saving throw or be knocked prone. If the target is a
Damage Resistances cold, necrotic beast, humanoid, or giant, it must succeed on a DC 12
Damage Immunities poison Constitution saving throw or acquire the Infection. At
the end of every hour, the diseased creature must make
Condition Immunities charmed, exhaustion, poisoned
another DC 12 Constitution saving throw or have their
Skills Perception +3 hit point maximum reduced by 5 (1d10). The reduction
Senses darkvision 60 ft., passive Perception 13 continues every hour until the creature makes its
Constitution save or it reaches 0 hit points, at which point
Languages -- it dies and then rises as one of the Infected an hour later.
Challenge 1 (200 XP) Claws. Melee Weapon Attack: +5 to hit, reach 5 ft., one
target. Hit: 10 (2d6+3) slashing damage.
Keen Hearing and Smell. The infected mastiff has
advantage on Wisdom (Perception) checks relying on
hearing or smell.

103
Monsters
 Possessed and
Obsessed Mobs
As the influence of the Yellow Sign
spreads throughout the city, the pos-
sessed mobs plaguing the city have
become increasingly frequent and
even more dangerous than before.
An obsessed mob forms one of two
ways. First, the effects of the Yellow
Sign can spontaneously create
such a mob without warning. It is
also possible for servants of the
King in Yellow to magically charm
a target creature—the “seed”—af-
ter which an obsessed mob forms
around the seed.
Regardless of how the mob forms,
when it dissipates, its constituent mem-
bers have no memory of what happened
or their involvement. Because an obsessed
mob can grow as it charms more and
more bystanders, it represents a danger
to anyone within earshot.

the next 24 hours. The mob does not attack any humanoid
Possessed Mob affected by the chant. The chanting ends if the mob
Large swarm of Medium humanoids (human), neutral evil dissipates or dies.

Armor Class 10 After a creature is no longer affected by the Mesmerizing

Chant, they must succeed on a DC 11 Wisdom saving
Hit Points 52 (8d10+8) throw or gain one level of dread. This dread lasts for 1
Speed 30 ft. minute or until the character loses any line of sight to a
possessed mob, whichever occurs first.
STR DEX CON INT WIS CHA Silence is Salvation. If targeted by a silence spell, the
12 (+1) 10 (+0) 12 (+1) 8 (-1) 10 (+0) 10 (+0) mob must make a Wisdom saving throw against the spell
save DC. If it fails this save, the mob disperses and the
Damage Resistances bludgeoning, piercing, slashing
people involved return to normal with no memory of what
Condition Immunities charmed, frightened, grappled, para- transpired.
lyzed, petrified, prone, restrained, stunned
Swarm. The possessed mob can occupy another creature’s
Senses passive Perception 10 space and vice versa. The mob can move through any
Languages Common opening large enough for a Medium humanoid. The mob
cannot regain hit points or gain temporary hit points.
Challenge 3 (700 XP)

Mesmerizing Chant. Each humanoid starting its turn within

30 feet of the possessed mob must succeed on a DC
10 Wisdom saving throw or be charmed by the mob. A
charmed creature must spend its action that turn joining
in the chant. Each round a creature remains charmed, it
speaks Hastur’s name once. A charmed creature can repeat
the save at the end of each of its turns, ending the effect
on itself with a success. Once a creature succeeds on this
save, they become immune to the Mesmerizing Chant for
Actions
Multiattack. The possessed mob makes two pummel
attacks.
Pummel. Melee Weapon Attack: +3 to hit, reach 0 ft., one
target in the mob’s space. Hit: 10 (2d8+1) bludgeoning
damage, or 5 (1d8+1) bludgeoning damage if the mob has
half its hit points or fewer.

104
Monsters

Obsessed Mob
Large swarm of Medium humanoids (human), chaotic evil
Armor Class 10
Hit Points 82 (11d10+22)
Speed 30 ft.
STR DEX CON INT WIS CHA
14 (+2) 10 (+0) 15 (+2) 8 (-1) 10 (+0) 14 (+2)
Damage Resistances bludgeoning, piercing, slashing
Condition Immunities charmed, frightened, grappled, para-
lyzed, petrified, prone, restrained, stunned
Senses passive Perception 10
Languages Common
Challenge 4 (1,100 XP)
Mesmerizing Chant. Each humanoid starting its turn within
30 feet of the obsessed mob must succeed on a DC
12 Wisdom saving throw or be charmed by the mob. A
charmed creature must spend its action that turn joining
in the chant. Each round a creature remains charmed, it
speaks Hastur’s name once. A charmed creature can repeat
the save at the end of each of its turns, ending the effect
on itself with a success. Once a creature succeeds on this
save, they become immune to the Mesmerizing Chant for
the next 24 hours. The mob does not attack any humanoid
affected by the chant. The chanting ends if the mob
dissipates or dies.
After a creature is no longer affected by the Mesmerizing
Chant, they must succeed on a DC 12 Wisdom saving
throw or gain one level of dread. This dread lasts for one
hour.
Silence is Salvation. If targeted by a silence spell, the
obsessed mob must make a Wisdom saving throw against
the spell save DC. If it fails this save, the mob disperses
and the people involved return to normal with no memory
of what transpired.
Swarm. The obsessed mob can occupy another creature’s
space and vice versa. The mob can move through any
opening large enough for a Medium humanoid. The mob
cannot regain hit points or gain temporary hit points.
Swelling the Ranks. Each round after the obsessed mob
forms, it grows as it recruits new unwitting members
through the Mesmerizing Chant. At the end of each round
in which the mob is adjacent to mundane bystanders, it
grows by adding one Hit Die. For every four Hit Dice by
which the mob grows, increase its melee weapon attack
bonus by +1 and increase the DC of the Wisdom saving
throw versus its Mesmerizing Chant by +1.
The Yellow Sign. If the obsessed mob formed due to
the influence of the Yellow Sign, any action dispelling or
destroying the triggering sign causes the mob to dissipate
and its members to return to normal.
Actions
Multiattack. The obsessed mob makes two pummel
attacks.
Pummel. Melee Weapon Attack: +4 to hit, reach 0 ft., one
target in the mob’s space. Hit: 20 (4d8+2) bludgeoning
damage, or 11 (2d8+2) bludgeoning damage if the mob
has half its hit points or fewer.
105
Monsters
 Rotting Servitor
When the King in Yellow manifests, a pack of incor-
poreal undead known as rotting servitors often ac-
companies it. These undead hover in mid-air, chained
by the tattered strips of cloth hanging from their
master’s robes. This connection shackles a servitor
to the King in perpetuity and keeps them tethered no
matter how far they travel. A rotting servitor cannot
be seen except through truesight or by someone in
service to or affected by the King in Yellow. When
seen, the servitor resembles a gaunt, diaphanous
form of the person it was in life, shrouded in tattered
clothes and emanating a pale yellow glow.
The King in Yellow creates a servitor when he com-
mands one of his tattered ribbons to snake out and
engulf another creature. In a matter of heartbeats, the
King steals the victim’s soul and destroys the physical
body. The captive soul transforms into a rotting servi-
tor, eternally enslaved to its master.
Severing the tether with a magic weapon frees the
servitor and allows it to remember its former life for a
moment, after which it withers into ectoplasm and dust.

Tethered Connection. An invisible tether connects each

Rotting Servitor rotting servitor to the King in Yellow regardless of the
Medium undead, chaotic evil distance between them. This tether is only visible to truesight
or similar magic. Severing the tether requires the attacker
Armor Class 12 be able to see it, and they must use a magic or adamantine
Hit Points 44 (8d8+8) weapon. The attacker must state they are targeting the tether,
requiring a successful attack against AC 18. The tether has
Speed 0 ft., fly 40 ft. (hover) 4 hit points and a damage threshold of 10, which means it
STR DEX CON INT WIS CHA ignores any attack dealing 10 or fewer points of damage. An
attack that inflicts 14 or more damage severs the connection.
2 (-4) 15 (+2) 12 (+1) 12 (+1) 16 (+3) 16 (+3)
A miss has no effect on the servitor. The rotting servitor
Skills Perception +5, Stealth +6 dissipates 1d10 rounds after losing its tether.

Damage Resistances acid, cold, fire, lightning, thunder; Turning Defiance. The rotting servitor has advantage on
bludgeoning, piercing, and slashing from nonmagical saving throws against effects that turn or otherwise repel
attacks that aren’t silvered undead.

Damage Immunities necrotic, poison
Condition Immunities charmed, exhaustion, grappled, para-
lyzed, petrified, poisoned, prone, restrained, unconscious
Senses darkvision 60 ft., passive Perception 15
Languages the languages it knew in life, Aklo
Challenge 4 (1,100 XP)
Relentless Hunter. The rotting servitor hounds the target
provided by the King in Yellow. The servitor always knows
the direction and distance to its prey so long as both are
on the same plane of existence. The servitor also always
knows the location of the King in Yellow.
Incorporeal Movement. The rotting servitor can move
through other creatures and objects as if they were
difficult terrain. It suffers 5 (1d10) force damage if it ends
its turn inside an object.
Unseen. The rotting servitor is invisible except when it
attacks. The servitor becomes visible after it takes the
Attack action and becomes invisible again at the end of its
turn. While invisible, only truesight or similar magic allows
another creature (other than the King in Yellow) to see a
rotting servitor.
Actions
Multiattack. The rotting servitor makes two Rotting Touch
attacks.
Rotting Touch. Melee Spell Attack: +5 to hit, reach 5 ft.,
one target. Hit: 9 (2d6+2) necrotic damage. In addition,
the target must succeed on a DC 13 Wisdom saving throw
or have its Charisma reduced by 1d3 points. A creature
reduced to 0 Charisma in this manner dies and becomes a
rotting servitor in service to the King in Yellow. A creature
slain this way cannot be restored to life except through
true resurrection or wish.

106
Monsters
 107
Monsters

Items of Interest
Canting Urn
Wondrous item, rare
This clay amphora features a series of arcane runes
and sigils arrayed in spiral patterns along its surface
and has a wax-sealed cork at the top. When triggered,
these urns end magical compulsions and charms
affecting a large group of people. Four urns are re-
quired in order for them to function. One urn must be
placed at each of the cardinal compass points and no
farther than 300 feet away from one another. Once
you’ve placed the urns, you or anyone else within
300 feet of any of the urns can speak the com-
mand word, causing all four to activate at once.
Together, the four urns create a square area of
effect inside their perimeter. Any creature inside
this area of effect receives the benefits of the
calm emotions spell, except instead of suppress-
ing the charmed or frightened condition, the urns
permanently end those conditions.
Any creature within the area of effect also
has up to two levels of dread removed. In
addition, if a creature in the area of effect
suffers from insanity, they can immediate-
ly attempt another saving throw against
the insanity’s DC to lower the sanity’s
intensity by 2. If a creature suffers
from more than one form of insanity,
this effect applies to the insanity
with the lowest DC.
Dimensional Chain
Wondrous item, very rare
(requires attunement)
When in its dormant state,
this magic item resembles
a tiny metal boat anchor
with a 6-inch silver chain
attached. When you place it
on the ground and activate
it as an action with the
command word, the anchor enlarges to the size of
an anvil and embeds itself into the floor where it was
placed. It only functions indoors. Once embedded,
the anchor cannot be pulled free unless you use the
command word again or someone casts dispel magic
on it.
Once the anchor embeds itself, the chain elongates
and shoots upward to the height of the ceiling in the
room, up to a height of 20 feet. The end of the chain
rips open a dimensional hole surrounded by a whirl-
ing energy vortex. When you pass through the hole,
you enter a dimensional realm between dimensions.
You can then command the chain to attach itself to a
dimensional node, each one of which grants egress
to a different plane of existence. Determining the di-
108
Items of Interest
mensional node you want from among the thousands
in sight requires a successful DC 20 Intelligence (Ar-
cana) check. If you fail this check, the chain doesn’t
connect and the item reverts to its dormant state. You
cannot use it again for 24 hours.
After the chain connects to its target dimension, it
forms a physical connection between your location
and the target plane. This effect encompasses the
entire structure, whether a one-room house or an
entire mansion. You choose where in the structure
the tunnel exists connecting the structure with the
target dimension.
The dimensional chain has unpredictable dimen-
sional effects on the structure and these effects
become more pronounced
over time. In essence, the
structure is “stretched” be-
tween the plane on which it resides
and the target plane. This means the
structure connects in different places to
different random planes. Creatures on those
other planes can wander into the structure by
intention or by accident.
Quill of Sumaris
Wondrous item, legendary
This relic, fashioned from the barbed blood-red quill
of an alien aberration, can weaken or dispel sigils,
glyphs, runes, and similar magical symbols. The quill
requires the blood of a servitor of the Outer Gods,
which is a creature in service to the power of entropy,
for the ink, and it can hold six applications of ink at
a time.
When wielding this pen, you don’t trigger wards
such as a glyph of warding when you approach them.
The pen does not, however, reveal to you the pres-
ence or location of an invisible sigil. As an action, you
can use the quill to draw a line through any magical
symbol or glyph, dispelling the symbol and rendering
it harmless as if dispel magic had been successfully
cast. This effect consumes one application of the ink.
In the case of a symbol occupying a larger space,
such as the Yellow Sign (SPCM 117) cast with a
4th-level or higher spell slot, dispelling the symbol re-
quires two applications of ink. If the glyph or symbol
was cast with a higher-level spell slot (such as casting
glyph of warding with a spell slot of 4th level or
higher), you must expend one additional application
of ink or the symbol remains unaffected.
You can also use the quill against a magical symbol
displayed on a creature, such as the Yellow Sign
worn by the King in Yellow. You must first succeed
on a melee spell attack. Hit or miss, you expend one
application of ink. If you hit, the target creature must
succeed at a DC 18 Wisdom saving throw. If they
fail this save, the symbol is temporarily dispelled for
4 rounds. The results of this vary from creature to
creature. In the case of the King in Yellow, the avatar
loses its immunity to confusion and insanity effects,
and it loses the Rising of the Dead feature within its
area of influence; also, the avatar no longer adds its
Charisma bonus to its Armor Class.
Sword of Unmaking
Weapon (longsword), legendary
This longsword appears as nothing
more than a high-quality longsword but
without anything in the way of ornamen-
tation. The sword is a +2 magic weapon
that adds its bonus to attack and damage
rolls.
According to legend, there exists a
weapon or object on every world capable of
hurting the King in Yellow’s avatar.
The King is aware of the exis-
tence of these objects but does
not recognize any particular object
as such until he experiences its touch.
While wielding this weapon, you have
advantage on Wisdom saving throws against
powers and spells from the King in Yellow or
any of its avatars. In addition, you gain advan-
tage on Charisma saving throws against The
King’s Voice.
If this sword inflicts damage on The King in
Yellow’s avatar, the avatar cannot regenerate on
their subsequent turn.
Finally, with this blade in your possession, you
are immune to the Possession ability present as
part of Hastur the Unspeakable’s influence. In
addition, when you attack Hastur’s Quantum Nu-
cleus, you deal two extra weapon dice of damage.
The Ten Thousand Rod
Wondrous item, artifact
This rod allows you to command the Ten Thousand
Honored Dead of Tiarazan, calling them to rise and
defend the city. The rod, fashioned from petrified
wood with its lower third wrapped in red and gold
prayer ribbons, is almost six feet long and one-inch
thick. By itself, the rod is a +3 quarterstaff.
When you strike an undead creature with The
Ten Thousand Rod, in addition to normal weapon
damage, you inflict 4d6 radiant damage. The undead
struck must succeed on a DC 17 Wisdom saving
throw. On a failure, the undead immediately moves
20 feet away from you.
According to legend, the wielder of the rod can
call forth the entirety of the Ten Thousand from the
catacombs should the city’s need prove dire. This
power hasn’t been used in decades. Only a chosen
few individuals can activate this epic power, including
the high priest of the temple of Irisia, the goddess of
death. This vast undead horde is best used outside
the city walls, as they function as a blunt and indis-
criminate weapon. The honored dead kill or trample
every creature in their path to attack their assigned
enemies. They care nothing about incidental prop-
erty damage or death. Unleashing this army within
the city limits would inflict tremendous death and
destruction.
The rod grants you several powers over undead
in general and the honored dead of Tiarazan specif-
ically.
Summon Undead Defenders. You speak a com-
mand word and summon some of the Ten Thou-
sand Honored Dead to you, calling them forth from
the catacombs. The undead you summon include
zombies, skeletons, and ghouls (you decide the mix
when you summon them). You can summon a total
challenge rating worth of undead equal to your
spellcasting ability modifier plus your proficiency
bonus. Summoned undead must come from
the catacombs and shamble their way to you,
a process that takes 1d4 x 10 minutes. The
summoning power only functions within the
walls of Tiarazan.
You can control undead you can see and within
300 feet of you whether they are part of the hon-
ored dead or not. Issuing a new command to these
undead uses your bonus action each round, but
the undead act on their turn. You can command
a total number of challenge levels of undead
equal to your spellcasting ability bonus plus
your proficiency bonus. These undead move
where you tell them to move and attack whom
you tell them to attack. Your control lasts until
the undead you summoned are destroyed or 8
hours elapses, whichever occurs first.
Once the time elapses, any surviving un-
dead return to their sleep in the catacombs
if they belong to the honored dead. If not,
they became uncontrolled undead and act
according to their nature.
Any undead you control with The Ten
Thousand Rod cannot be controlled by
another master as long as you remain
awake and wield the rod. If you fall
asleep, lose consciousness, die, or lose
the rod, the rod cannot prevent another
creature from stealing your control
over the undead. If another creature
commands undead, whether by spell
or special ability, you can activate this
power to neutralize their control. This
does not, however, grant you control
over those undead; they become
uncontrolled and act according to their
nature.
This power recharges after you
complete a long rest. If you use this power more than
once in a week, you gain a level of dread for each
additional time you activate it; this level of dread lasts
until you complete a long rest.
Inflict Fear. When you activate the rod as an ac-
tion, you can target any undead within 30 feet of you
that can see the rod. These undead must succeed on
109
Items of Interest
 a DC 17 Wisdom saving throw. On a failure, undead
with Challenge Rating 3 or below become frightened
of you for 1 minute. Undead with immunity to the
frightened condition gain advantage on this save, but
if they fail they become frightened despite their im-
munity. A frightened undead can repeat this save at
the end of each of its turns, ending the effect on itself
with a success. Once an undead makes this Wisdom
saving throw, it becomes immune to the frightened
effect for 24 hours. Undead with a Challenge Rating
4 or higher are immune to this power.
You can use this feature once before the next dawn
without ill effects. You can use this feature again
before this, but you gain a level of dread each time
you do so; this level of dread lasts until you complete
a long rest.
Random Properties
The Ten Thousand Rod has the
following random properties:
◊  2 minor beneficial prop-
erties
◊  1 major beneficial
property
When the crystal is in your possession, as an
action you can release some of the crystal’s stored
psychic energy in one of the two following ways:
Healing. You can use the energy to heal any
creature’s damage, regardless of the damage type
suffered, by touching the crystal to them. For every
10 points of psychic energy released from the crystal,
the target creature regains 1d8 hit points.
Psychic Shock. You can target a creature you can
see within 60 feet. Make a ranged spell attack roll. If
you hit, the crystal strikes the creature with out a
bluish beam of destructive energy. For every 10
points of energy you release, the target suffers 1d8
psychic damage.
If a creature targets you with an attack
dealing psychic damage, you can
use your reaction to absorb the
energy with the crystal,
reducing the damage
you take by half. The
crystal stores the
absorbed points.

Destroying the
Rod
Legend tells that
the destruction of
the Ten Thousand Rod
heralds the death of
Tiarazan. Destroying
the rod first requires
its wielder to summon
all the Ten Thousand
Honored Dead and lead
them from the city. When this
occurs, the Eldest, a trio of
mummy lords, will rise from
within the catacombs. The wield-
er must defeat all three mummies
and then bathe the rod in the waters of
the Aldakesh River. This shatters the rod,
which in turn frees the undead from any compulsion
to protect the city.

Vampiric Psychic Crystal

Wondrous item, very rare
This fist-sized chunk of polished crystal resembles a
diamond in shape and beauty. It emits a pale, pulsing
light whenever it contains psychic energy.
When a creature within 60 feet of the crystal
suffers psychic damage, the crystal absorbs half the
lost hit points and stores them. This has no effect
on the damage the creature suffered. A vampiric
psychic crystal can store up to 75 points of energy.
If it absorbs more, it shatters, and all stored energy
dissipates harmlessly.
110
Items of Interest
Spells
Nightmare
7th-level illusion
Casting Time: 1 minute
Range: Self
Components: V, S, M (pinch of sand, spider husk,
dab of squid ink)
Duration: 8 hours
This spell invades the sleep of other creatures and
turns their dreams into horrific nightmares. Choose
one or more creatures known to you, to a maximum
equal to your spellcasting ability modifier plus your
proficiency bonus. The targeted creatures must all be
on the same plane of existence as you, but they need
not be all in the same physical location when you cast
this spell. This spell doesn’t affect creatures that do
not sleep.
After you cast this spell, you fall into a trance and
send your dream-self to the minds of the sleeping
creatures. While you remain in this trance, you are
aware of your surroundings, but you cannot take
actions or move.
You appear in the dreams of each sleeping target
creature. You can converse with them for as long as
they remain asleep, up to the spell’s duration. You
control and form the dream environment, which
allows you to shape the landscape, objects, and any
other images you choose. You may end your trance at
will, ending the spell effect.
At any point during the nightmare, you can alter
your appearance to become a terrifying, horrific
creature. When you do, each target must make a Wis-
dom saving throw. On a failed save, a target creature
suffers 5d6 psychic damage and gains one level of
dread.
Target creatures remember every detail of their
nightmare. If the target is awake when you cast this
spell, you know it and can either end your trance (and
this spell) or wait for the target to fall asleep, at which
time you appear in their dreams.
Of note, this spell has no effect on a sleeping crea-
ture that has entered the Dreamlands. When you cast
this spell, you know they are in the Dreamlands and
cannot be affected.
Alternatively, you can use this spell on up to 10
creatures, including yourself, allowing those affected
to enter the Dreamlands when they next fall asleep. If
an affected creature fails to fall asleep within 8 hours,
the spell ends without effect. As an action, you can
end this spell, which removes all affected creatures
from the Dreamlands and awakens them.

111
Spells
 CONCLUDING NEXT MONTH!

112
Spells
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