Aegean - Book of Heroes - vfLE9B

AEGEAN: BOOK OF HEROES
STOO GOFF
www.aegeanrpg.com
CREDITS
GAME DESIGN AND WRITING

STOO GOFF
(@STOOGOFF)
C OV E R A RT
ELEONOR PITEIRA
( E L E O N O R P I T E I R A . S Q U A R E S PAC E . C O M )
G R A P H I C D E S I G N / L AY O U T
SIMON CLARKE
(@SIMONSBRAIN)
INTERIOR ART
GARETH SLEIGHTHOLME
(@HESIR)
ADDITIONAL DESIGN
DEBRA CHAPMAN
( M I S E R Y M A K E S S H O P. E T S Y. C O M )
C A M PA I G N W R I T I N G
ELEANOR HINGLEY
(@MAGPIE_ELLE)
ANDY RAFF
( @ W U L F B OY R A F F )
E D I T I N G A N D C U LT U R A L R E A D I N G
DR LENA LIAPI
(@LENALIAPI)
© 2023 STOO GOFF. ALL RIGHTS RESERVED.
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TA B L E O F C O N T E N T S
INTRODUCTION
CHAPTER 1: INTRODUCTION .......................................................... 5
T H E U N D E RWO R L D
CHAPTER 2: D E S C E N T I N TO T H E U N D E RWO R L D . . . . . . . . . . . . . . . . . . . . . . . . 7
V O YA G E A N D R E T U R N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
NEKROPOLIS .............................................................. 12
NEW PC OPTIONS ..................................................... 15
PLOTS ........................................................................... 17
CHAPTER 3: N AV I G A T I N G T H E U N D E R W O R L D . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9
GEOGRAPHY ............................................................... 20
R I V E R S O F T H E U N D E RWO R L D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2
E T E R N A L D E S T I N AT I O N S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4
H O U S E S O F T H E U N D E RWO R L D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 5
I T E M S O F T H E U N D E RWO R L D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 6
CHAPTER 4: CHTHONIC BEINGS ................................................. 30

HAIDES ........................................................................ 31
PERSEPHONE ............................................................. 32
NYX .............................................................................. 34
OTHER GODS .............................................................. 35
T H E P R I S O N E R S O F TA R TA RO S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 7
U N D E RWO R L D T H R E AT S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 9
CHAPTER 5: SLEEP NO MORE ...................................................... 47

SYNOPSIS ................................................................... 48
BACKGROUND ............................................................. 48
G E T T I N G S TA R T E D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 8
POLIS IN PERIL ......................................................... 50
P R E PA R I N G F O R T H E J O U R N E Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 2
T H E E N T R A N C E TO T H E U N D E RWO R L D . . . . . . . . . . . . . . . . 5 3
V O YA G E A N D R E T U R N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 2
GODS AND MONSTERS
CHAPTER 6: MYTHIC QUESTS ....................................................... 63

C A M PA I G N F R A M E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 4
S TA N DA LO N E TA S K S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 6
GAME PRINCIPLES AND MYTHIC QUESTS ............ 67
SIDE QUESTS.............................................................. 69
CHAPTER 7: P A L A C E O F L E AV E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
BACKGROUND .............................................................. 71
O N WA R D T O S Y N O R I A K I S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 6
THE BUILDING SITE .................................................. 77
TRIUMPH ..................................................................... 91
DISASTER .................................................................... 92
CHAPTER 8: THE GOLDEN SHIRT ................................................. 93

BACKGROUND ............................................................. 94
THE ISLE OF THE KHRYSOMALLOI ........................ 96
SECURING THE FLEECE ........................................... 99
MAKING THE SHIRT ................................................ 100
TRIUMPH ................................................................... 102
CHAPTER 9: THE PELIONION ..................................................... 103

BACKGROUND ........................................................... 104
FAC T I O N S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 0 6
VISITING MOUNT PELION ...................................... 114
THE PELIONION ....................................................... 118
THE PELIONION PROPER ........................................ 119
THE CLOSING CEREMONY ..................................... 126
C O M P L I C AT I O N S A N D C O N S P I R AC I E S . . . . . . . . . . . . . . . . 129
S E C U R I N G A C ROW N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 33
TRIUMPH OR DISASTER .......................................... 134
C H A P T E R 1 0 : T H E D O O M O F K AT H A RO N I S I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
BACKGROUND ........................................................... 136
T H E K I N G D O M O F K AT H A RO N I S I . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3 8
EXPLORING SARIPOLLA ......................................... 144
THE FIRST ENGAGEMENT ....................................... 151
CALM BEFORE THE STORM ................................... 154
THE FINALE .............................................................. 156
T H E D E N U N C I AT I O N O F BA S I L E A . . . . . . . . . . . . . . . . . . . . . . . . . 1 5 7
T H E BAT T L E FO R S A R I P O L L A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5 8
THE SUNKEN TEMPLE ............................................. 161
T WO Q U E E N S A N D A P R I N C E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
TRIUMPH AND DISASTER ....................................... 165
ADVERSARIES ........................................................... 166
CHAPTER 11: A R M O U RY O F T H E G O D S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7 0
BACKGROUND ............................................................ 171
REACHING LEMNOS ................................................. 173
THE ARMOURY OF THE GODS ................................ 177
THE GOD FROM THE MACHINE ............................ 189
TRIUMPH ................................................................... 190
INTRODUCTION
CHAPTER 1
INTRODUCTION
BOOK OF HEROES
The BOOK OF HEROES contains setting and adventure

information to take your heroes from the far reaches of the
Aegean Sea and down into the depths of the Underworld.
In the Underworld section you’ll find detailed descriptions of the

different realms of the dead and the denizens who reside there. It
includes new PC options for the heroes and their city. In the Sleep No
More adventure, the heroes must travel to the underworld to discover
why sleep has left the mortal realm.
GODS AND MONSTERS
Gods and Monsters provides ideas for running AEGEAN as a more

mythic campaign focussing on adventuring heroes and epic quests
they might undertake while away from their home polis. It includes five
adventures of steadily increasing awe and danger.
In Palace of Leaves the heroes must unravel the mystery of the curse
preventing a young polis from building a palace. The Golden Shirt
tasks the heroes with weaving a shirt from the wool of golden sheep
descended. In The Pelionion they are drawn into the politics of centaur
tribes at the games on Mount Pelion. A titanic crab assaults the island
in The Doom of Katharonisi and the heroes must discover the reason
behind its destructive presence. Finally, in Armoury of the Gods the
heroes must travel to a forbidden wasteland to capture an
undefeatable foe.
NOTE: Numbered page references in the margins which are prefixed

with “AC” refer to the Aegean Core rules.
6
CHAPTER 2
DESCENT INTO THE

U N D E RWO R L D
BOOK OF HEROES
A big thank you to my incredible group of playtesters who let me drag

them to the depths of the Underworld and back: Robin Farndon, Phil
Hanley, Seph Steel and Jessica Waters.
The Underworld is a subterranean world where the shades of the dead

walk eternally, a prison of monsters and the realm of the dread king
Haides. Where Zeus resides upon Mount Olympos, Haides was given
custodianship of the lands of the dead, deep beneath the earth. This
guide is designed to help you introduce the Underworld into your
AEGEAN campaign. The Underworld has been a much-loved location
for stories of tragedy and heroism since the earliest surviving Greek
literature: it has potential for dramatic victories and truly horrific trials.
The realm that came to be known as the Underworld was formed by a

group of beings borne of primordial Khaos, as each was not only an
entity of immense and ancient power, but also made up a part of the
world. Dwelling beneath their sibling Gaia, the earth itself, the chthonic
children of Khaos were Erebos, Nyx and Tartaros. They were largely
insulated from the earth-shaking wars of the titans and their children,
who would eventually become the Olympian gods, except when the
Underworld became the prison for inconvenient threats: first the titans
and later the giants. After the conflict known as the Titanomachy, Zeus
divided up the lands he had claimed between himself and his brothers:
Poseidon and Haides. Poseidon took control of the seas, while Haides
was left with the realms of the Underworld. He became lord of the
darkness of Erebos, the lands of Tartaros and the rivers that flowed
through and around the Underworld, as well as ruling the souls that
travelled to those lands. The name Haides is often used as a name for
the Underworld itself as well as its king, but to avoid confusion, we use
the term Haides to mean the god, while names like Erebos and
Tartaros that describe a place or concept and a character are used
interchangeably as they are in the AEGEAN setting.
To the people of AEGEAN, the Underworld is not an idyllic afterlife or

an eternal reward (except for a select few heroic figures). Life is for
the living and when people make their last journey down the River
Akheron, their future is immutable. Everything they did in life is now
their future as well as their past, ready for the decisions of the Judges
at the Gates of Haides. What remains of the dead is called a Shade, a
faded memory of the person they once were. Most Shades pass easily
into the Asphodel Meadows, where those who did not distinguish
themselves as champions or transgressors go. This might sound
pleasant, but the Meadows are a grey and misty place where the dead
wander as mere shadows of their former selves, unable to converse
with one another in an eternal twilight. In contrast, in Elysium people
can indulge in their favourite pastimes without the toil and struggle to
survive that comes with life on Earth. In AEGEAN, Glory and Hubris
reflect the possible futures of the player characters: great heroes can
earn enough Glory to send their souls to Elysium, but they can also
anger the Gods and end up in Asphodel, or perhaps even the
tormented realm of Tartaros.
8
V O YA G E A N D R E T U R N
Most mortals take only one trip to the Underworld, but some
exceptional people travel there and return alive, motivated by love,
truth or destiny. The katabasis, meaning “go down”, might have
originated as a term for a journey to the coast, but it is best known as
the archetypal story of a treacherous voyage to the Underworld,
followed by a return to the land of the living.
Katabasis is more than simply a physical journey but also represents a

spiritual transformation. Those who travel to the Underworld do so out
of direst need and return changed. To some extent, while they return
physically alive, some past version of themselves has died in the trials
2 / D E S C E N T I N TO T H E U N D E RWO R L D
of Haides’ realm and they are born anew as they emerge from the
caves of the dead. Some emerge a shadow of their former selves, like
Orpheus, and others are given renewed purpose even as they grieve,
like Odysseus.
The most famous katabasis is that of Orpheus, the storied musician

whose music could make the trees bend to listen and animals sit at his
feet. When his beloved Eurydike was bitten by a snake, Orpheus
travelled to the Underworld and used his song to convince Persephone,
the Queen of the Underworld, to plead with Haides for Eurydike’s
release back to the world above. Haides agreed on one condition:
Orpheus must walk from the Underworld, with Eurydike following
behind him, but he could never turn around and look at her or she
would be trapped in the Underworld forever. Orpheus looked back at
the last moment, only to see his Eurydike dragged back to the
Underworld for the final time.
Odysseus visited the Underworld in a rather bloodier way, sailing to

the edge of the ocean and providing a blood sacrifice as part of a
highly dangerous version of the ceremony of nekyia. He sought to
locate the shade of the prophet Tiresias for advice on his long voyage
home, spilling sacrificial blood in a trench as an invitation to the
ghosts of the Underworld to approach. The ritual drew more than
Odysseus’ intended target: he had to fend a hoard of hungry shades
back from the sacrificial blood with his sword and then was confronted
by his old comrades in arms, Elpenor and Akhilles, learned of his
mother’s death by seeing her shade, encountered a parade of other
famous heroes and heroines and understood painful truths about the
nature of heroism in death. Odysseus received Tiresias’s prophecy, but
emerged changed from his brush with eternity.
Journeys to the Underworld or bargains with the gods to return those

lost are common tropes and there are many more than this (notably,
Herakles’ twelfth labour and Castor and Pollux’s bargain).
9
BOOK OF HEROES
THE NEKYIA
The nekyia is a necromantic ritual in which the ritualist summons the
Shades of the dead to answer questions, usually involving a journey to
the Underworld in a literal or figurative sense and a blood sacrifice to
attract the attention of Shades. Odysseus performed a dangerous form
of this ritual by sailing to the Underworld, but a safer version is
performed in the Nekromanteion, where the journey is a symbolic walk
through winding gates and passages.
U S I N G T H E U N D E RWO R L D I N A C A M PA I G N
Why take a campaign to the Underworld? The Underworld forms a key

part of the world of AEGEAN: even with the direct intervention of gods
and heroes, death is an important part of the cycle of the world. The
seasons where Persephone walks the earth and brings forth bountiful
harvests are defined by their brevity and the need to store for the cold
months when she returns to her husband Haides. The Underworld is a
physical realm people can travel to, rich with the tragedy of an
afterlife where the best time is already done. It gives an opportunity to
interact with the heroes of the past, and it is also a place of great
monsters, where the most terrible enemies of the Olympian gods are
chained. The voyage to the Underworld is a mark of glory, and
challenges that take heroes to the Underworld are worthy of famous
tales.
You may plan to take the player characters to the Underworld ahead
of time or you may find that your campaign naturally leads towards it
as a player character or an NPC dies with unfinished business. This
guide is a toolkit for your Underworld adventures, but elements of the
Underworld can easily appear on the surface world as well. Shades
may trouble the living, oracles can declare that a fallen hero is being
forgotten, necromantic rituals summon ghosts for their wisdom, and the
gods and monsters of the Underworld are often able to traverse the
realms more easily than the Olympians.
M O T I VA T I O N
The first question with any katabasis is “what motivates this journey?”
The journey to the Underworld and back is not one to be taken lightly
and those who undertake it know that their chances of remaining down
there forever are unnervingly high. These motivations should be the
sort that are both heroic and impossible to accomplish by other means.
For instance, in the adventure included in this supplement, the heroes
must journey to the Underworld to restore sleep to the world.
10
Some ideas for the motivations behind a katabasis journey:
◆ A messenger arrives from a small village near to the heroes’ polis:

a beloved relative or friend was on their way to the city but was
set upon by bandits (or perhaps assassins with poisoned blades)
and was badly wounded, leaving them only a few hours of life
before they died. They managed to convey they had a vital
message and would only pass it on to that character—the truth of
a character’s parentage, the location of an important divinely-
blessed item, or an unfinished task they wish to see through—but
died before they could write a message. The hero, in company with
the other heroes, must journey to the Underworld to discover what
was so urgent and complete their friend’s last wish so they can rest.
◆ The heroes are charged to visit one of the tortured souls in
Tartaros (e.g. Sisyphos or Tantalos) as part of a divinely-ordained
debate on the nature of justice, during the trial of someone whose
crimes have caught the interest of the gods themselves. As those
who have suffered in the name of the gods’ justice, the testimony
of these tormented people can add weight to either side of the
argument: a truly heinous crime such as that of Tantalos plays to
the idea of divine justice being fair and absolute, while Sisyphos’
punishment was for defying the gods through cunning, perhaps
something that could be argued as disproportionate.
◆ A great enemy has arisen and the Polis is under threat. The only
person who has ever triumphed against this threat is the great
General Sostrate, who now dwells in Elysium. The characters must
hurry to the Fields of Heroes to question the general on how she
defeated this foe before, or all may be lost.
The most obvious reason to travel to the Underworld is upon the death
of a PC or NPC. In many role-playing games, character death is
something that can be quickly averted or corrected and in AEGEAN,
player characters cannot die unless they are Cursed by having their
Hubris exceed their Glory. Through the intervention of gods, a noble
act of self-sacrifice or a moment of fate on the scale of Paris’ arrow
hitting Akhilles’ heel, a hero has died. Consider the Hubristic acts that
led the character to the point of being Cursed: did they anger a god
with their disrespect, defy prophecy or harm someone dear to them?
Most Shades cannot change their fate once they pass beyond the
Gates of Haides, but perhaps by some great act of Glory or the
intervention of another god, Haides might be willing to negotiate.
Haides guards the souls in his care jealously and retrieving one will
invoke his wrath, unless the heroes make some bargain with the dread
king. This in itself can make for an exciting story, as the Disfavour of
the King of the Underworld is a dangerous thing and dogs their every
step with doom. If a hero dies and wishes to continue their story, this
can be a fun way of ensuring the act of bringing them back has
consequences. Perhaps they make a bargain with Haides, persuade
Persephone and face a test as Orpheus did, or fight their way out of
the Underworld in an epic struggle that defies the natural order. Such
acts, even if unsuccessful, should incur Hubris.
11
BOOK OF HEROES
NEKROPOLIS
A C I T Y AT T H E G AT E S O F H A I D E S
Introducing the Underworld into a campaign opens up the potential

for a different kind of Polis: a city at the Gates to the Underworld.
Oracles and temples thrive around so-called Gates of Haides, places
where Gaia’s surface gives way to the deep darkness of Erebos. If you
choose to have a Polis that stands on the border between life and
death, it gives a fantastic opportunity to run different kinds of
plotlines, with political and trade interactions with the Underworld
itself as well as a flavourful reason for people to travel to the city.
The first thing to consider when building a Polis near a Gate of Haides
is the entrance to the Underworld itself. A settlement that springs up
around an access point to the Underworld is likely to have done so for
religious reasons, as most people stay well away from such places.
Most Gates to the Underworld are rivers, caves, or a combination of
the two, but promontories are also possible sites, as are volcanic
chasms or hot springs where the fire river of Pyriphlegethon reaches up
from the Underworld and breaches the surface. A Nekropolis must
have at least one shrine to Haides (or risk his displeasure) but if the
player characters decide to build a second shrine, it could easily be to
another Underworld deity such as Persephone or Nyx, or to a figure
like Hermes who exists between Olympos and the Underworld. The
Gate of Haides is a common site for pilgrimage by ordinary people,
priests of Underworld deities and mystery cults such as the Cult of
Hekate and the Eleusinian Mysteries, so the city has likely adapted to
a certain level of tourist trade.
The Nekropolis has another large advantage: a potential trade route

with the Underworld itself. In his role as ruler of the dead, Haides is
also master of the riches that lie beneath the earth. Perhaps through
the intervention of Hermes or some other messenger, the Polis has
formed an agreement with King Haides or Queen Persephone to trade
objects of the world to brighten Haides’ dreary house, and in return
receive shipments of ores, minerals and jewels from deep within
Haides’ domain. This trade relationship gives +1 Trade and follows the
same rules as other Faction relationships. Endangering this relationship
comes not only from worldly actions but also the Disfavour of Haides
or Persephone, or breaches of Haides’ rules such as allowing the
escape of a soul.
In other cities, the term Nekropolis refers to the burial grounds

flanking a road out of the city. Any Polis at the Gates of the
Underworld is likely to treat its dead with extreme respect and
gravesites might even run along the road towards the Gate itself, often
as a processional pathway for rituals. If the Polis has developed its own
set of customs or mortuary rites around the dead, these are likely
safeguarded by a Funerary Cult, which also provides advice on
etiquette regarding the entry of souls into the Underworld and
negotiating with its inhabitants.
12
N E W C I T Y F E AT U R E S
N E W R E TA I N E R : If the city has a Trade route with the

F U N E R A RY C U LT Underworld, the Funerary Cult gives a +1 on
Cost: 2 any Boost Trade or Diplomatic Envoy rolls
Health: 1 with the Underworld.
Hire Mercenaries: 1
In most cities, funerary cults hold a
Morale: 1
primarily ceremonial role, overseeing the
preparation of bodies and the rituals
required to ensure their swift entry to the
Underworld. These can vary from city to
city, but almost always include placing a
coin in or on the mouth of a corpse with
which to pay the ferryman, Kharon. They
often also include a funerary procession to
the gravesite, libations or sacrificial
offerings performed by someone close to
the deceased, and ritual dirges and eulogies
for the dead. Funerary cults may also have
their own closely-guarded mystery practices
and special instructions gifted to the dead
on a golden tablet as a guide to etiquette
when navigating the Underworld. In the
Nekropolis, the funerary cult holds very real
power as mediators for diplomacy,
providing diplomatic services themselves or
advising on negotiations with the Dread
King.
NEW BUILDING: Meaning ‘The Oratory of the Dead’, the

NEKROMANTEION Nekromanteion is a temple dedicated to
Cost: 6 Haides and Persephone in which the ritual
Structure: 4 of nekyia, or questioning the dead, may be
Culture: 2 carried out. Less dangerous than the nekyia
Resources: 1 performed by Odysseus, the ritual is not
without its risks. Querents are led by the
priests of the temple through labyrinthine
corridors and iron gates until they reach an
inner chamber where their questions are
answered by the Shades of the deceased.
Characters can choose to visit the
Nekromanteion to perform the nekyia and
gain +1 success on any skill check where
consulting with the dead might give clues.
13
BOOK OF HEROES
N E W A R K H O N : E N VOY
The Arkhon of a Nekropolis holds a unique position as mediator
between worlds, possessed not only of the riches of the Underworld but
also of the right to negotiate with the Underworld powers. The Envoy is
a religiously-inclined diplomat, focused on growing their influence with
both worlds. They are likely to seek the favour of Hermes as the
messenger of the gods and one of the few beings who can pass into
the Underworld and return safely. They may also court the favour of
Hypnos, Nyx or Thanatos, who walk between the worlds, though
Thanatos is known to be utterly iron-willed in his dedication to his role
and attempts to defy him may be met with lethal consequences.
This arkhon has the following skills and abilities:
Skills
◆ Diplomacy: 2 ◆ Lore: 3 ◆ Medicine: 1

◆ Knowledge: 1 ◆ Manipulation: 1
Good Relations: The Envoy is willing to sacrifice the wellbeing of their

people to satisfy the ancient laws of the Underworld and maintain
their agreements with Haides, handing over renegade souls or
tricksters who seek to breach Haides’ realm for punishment in the
Underworld. Anyone aiding and abetting those who defy Haides’ will
find no shelter or assistance from the city and may even be hunted by
the Envoy’s guards.
14
NEW PC OPTIONS
C U LT O F H A I D E S
For most, rituals for Haides are restricted to veneration of the dead
during funerary rites. Few actively worship the god of the Underworld,
they offer respect and sometimes fear, but not worship. Those who
have entered his realm and returned take a different view and may
choose to offer thanks to the dread lord for their continued life.
The would be worshipper of Haides must make a pilgrimage to one of

his sanctuaries — a Nekromanteion — and become initiated into the
rites of the dead. Elis in the Peloponnesos or the Oracle of Haides at
Thesprotia in Northern Hellas have the largest groups of worshippers
and are the most common places for initiation. The rituals to required
to join the cult last through the night and require the initiate to fast
and answer riddles to prove they have truly been taken by death and
returned.
Members of the cult of deathwalkers are said to be able to return to

the dark lands and bring messages from the people there. They bring
back with them an aura of the dead which causes many to tremble in
their presence.
Joining the Cult

Those who would join the Cult of Haides must do two things: they must
die and return to life, and find a member who can initiate them into
the cult. Mechanically a PC must have rolled a 16+ “Close to Death”
result on the Critical Injury table and been successfully healed of the
wound. After this they must journey to a Nekromanteion to be
initiated. The ritual lasts through the night and causes the initiate to
gain 2 Risk. They must then succeed on a Difficulty 2 Might (Vigour)
skill check and a Difficulty 3 Cunning or Insight (Lore) skill check. The
nature of the ritual is left to the GM.
If the PC successfully completes the rolls required they are permitted

to join the cult and have access to the available talent tracks.
15
BOOK OF HEROES
S U N L E S S L A N D S TA L E N T S
◆
1 Welcome — 5xp ◆
4 Water Bearer — 20xp
You immediately gain Favour During downtime you may use a
(Haides). downtime Action to gain a vial of
water from one of the Underworld
◆
2 Living Ward — 10xp rivers of your choice. The vial has
The rites ward you from the touch a single use and evaporates at
of death and evil magics used the start of the next downtime if
against you. All magic cast it hasn’t been used.
against you has its Difficulty
increased by 1 along with all ◆
5 Dedicated — 25xp
attacks from dead creatures and Permanently increase a
spirits. characteristic of your choice by 1
point to a maximum of 5. This
◆
3 Fearsome — 15xp talent may be bought multiple
This Talent is identical to the times.
Fearsome gift.
S P E A K E R O F T H E D E A D TA L E N T S
◆
1 Pronouncement of Doom — 5xp ◆
3 Necromancer — 15xp
You may speak the doom of a You are able to commune with the
living creature. Gain 1 Risk and spirits of the dead and gain the
make a Harm attack Action using Necromancy magic outlined in the
Cunning (Lore) on a living target Mageia talent.
within Short range. Each success
inflicts 1 Risk on the target, ◆
4 Speaker of the Dead — 20xp
ignoring any armour. If the target You may use your Pronouncement
isn’t killed in this encounter you of Doom talent against a target
gain 1 Hubris and Disfavour at Medium range.
(Thanatos).
◆
5 Unfeeling — 25xp
◆
2 Catch Your Breath — 10xp You are inured to pain. When
When performing a Recovery rolling on the Critical Injury table
Action at the end of an encounter reduce the roll by 1 per rank in the
reduce your Risk by an additional Unfeeling talent.
point per rank in Catch Your
Breath.
16
PLOTS
The Nekropolis gives exciting opportunities for stories that focus on

the delicate balance between life and death, the role that the
Underworld powers play silently in the harmony of existence, and
politics across worlds. Plot Seeds for the Nekropolis:
◆ A cunning funerary cult nearby has bound Thanatos in his own

shackles, as Sisyphos did long ago, and now no-one can die.
Emissaries from the great cities surrounding the Aegean converge
on the Nekropolis to demand answers, while Haides grows angrier
each day that the souls that should be in his care are kept from
him and followers of Ares threaten to burn the Nekropolis to the
ground in their god’s anger at the wars that can never end.
◆ A famous thief has had a priest of Asklepios place her in a state
of near-death through the use of poppy extract, ready to wake
again if her shade can return to her body. She plans to rob Haides
of his Helm of Invisibility and escape, but has found herself lost in
the Underworld. The priest pleads with the characters for help in
fear that the thief will be caught and the priest will be dragged to
Tartaros for punishment.
◆ The younger son of the recently-deceased Arkhon of another Polis
has travelled to the city to seek the counsel of his late mother
through the nekyia. As he leaves the Nekromanteion, he is set upon
by a group of assassins, only saved by the player characters. He
admits that his mother’s Shade told him his older brother poisoned
her so he could become Arkhon, and fears that the assassins were
sent by his brother to remove the last threat to his reign. A
diplomat of the older brother arrives at the city, hot on the heels
of the other delegates from his Polis, and makes an intriguing offer
to the Arkhon: a lucrative trade deal and a formalised alliance
with his Polis, in return for the player characters and city guardians
standing aside to allow the assassination to take place.
◆ Persephone has stayed too long in the Underworld and the plants
and crops of the surface world are dying with a cruel winter that
never ceases. Demeter is wrathful at the absence of her daughter,
causing devastating storms and blaming Haides. The characters
must travel to the House of Haides to uncover the reason for
Persephone’s delay. They learn that she has become ill with longing
to listen to the music of Orpheus again. The singer has not been
seen in the surface world for some time, but his Shade has not
reached the Underworld. Haides employs the heroes to track down
the Head and Lyre of Orpheus and bring them to Persephone.
17
BOOK OF HEROES
◆ The characters are sent to investigate bandit attacks in an

outlying town under the protection of the Polis. They find the
locals’ superstitions about closing their shutters every night and
making apotropaic markings at their doorways strange. They learn
that as night falls, restless Shades walk the streets hammering on
the doors and windows of their former houses, berating their
families and loved ones for failing to bury them properly. They
have been killed by the bandits who, knowing the piety of the
townsfolk, have left the bodies unburied to better intimidate the
locals. If the characters slay the bandits, the townsfolk can bury
their kin with appropriate ceremonies and ensure their passage to
the Underworld.
18
CHAPTER 3
N AV I G A T I N G T H E
U N D E RWO R L D
BOOK OF HEROES
The Underworld is a place not meant for mortals, or even for gods who
are not permitted to be there. It is the dwelling place of monsters and
Furies and Shades, of creatures so terrible that Ouranous imprisoned
them in Gaia’s womb when they were born so he would not witness
their horror. Its time and geography are impossible, sometimes aligning
with the passage of time on the surface but often slipping out of all
ability to measure the hours as you delve deeper. Even places like the
Asphodel Meadows or Elysium that have some form of light bear no
relation to the sun and moon of the surface world.
Navigating the Underworld calls for a mix of skills: Lore is useful to

recognise the landmarks and understand the dangers; Survival is
important for moving through the environment quietly and finding a
path; Athletics can help characters move past the threats in the
Underworld; Awareness is necessary to pick out details in the gloom.
Failure on these Tests could lead characters to become lost and end up
running into dangers from this book or from the Adversaries section in
the core AEGEAN book. They could face environmental hazards such as
the rivers (see below) and the adventure in Chapter Four has
suggestions for encounters that could lead to further quests or
desperate conflicts.
While the Shades of the dead are mere shadows of what they once
were, some still retain enough of their memories to hold a conversation.
These Shades could provide guidance, but may do so on the condition
that the characters arrange a rite for their body, bid farewell to their
relatives or carry a message to the surface world for them.
GEOGRAPHY
The Underworld has two major parts: Erebos, the primordial darkness
that fills the caves between the lands of the living and the dead, and
the Underworld proper, which is further divided into realms.
EREBOS
Both the primordial personification of darkness, who is husband to

Nyx, and the caves that lead between the surface world and the
Underworld, Erebos is the least treacherous part of the Underworld
and the easiest to escape from. It can be entered through a Gate of
Haides leading to the River Akheron. The Titans Epimetheus and
Menoitios were banished to Erebos by Zeus during the war between
the Titans and the Olympian Gods.
20
ENTRANCES
Often found in caves with rivers, these are known to the locals and
revered with appropriate trepidation. Following the river down into the
cave eventually leads to the Akheron where a host of souls await the
arrival of Kharon’s ferry. Only those who pay the toll of one obol can
board the ferry. Any who cannot pay the toll are left on the bank,
wailing and weeping as they are stranded between worlds. The River
Akheron leads down to a dock beside the Gates of the Underworld,
where all passengers must disembark. It is possible to walk the shores
of the Akheron to reach the Gates, but inadvisable given the number
of Hungry Shades roaming the shoreline and the risks of straying from
(or into) the river in the darkness.
KERBEROS
3 / N AV I G A T I N G T H E U N D E R W O R L D
The entrance to the Underworld is guarded by a huge multi-headed
hound called Kerberos. Kerberos is primarily there to ensure people do
not leave the Underworld once they have entered it, but he can detect
living beings who travel in front of him unless he is distracted or
overcome (see Chapter Three: Chthonic Beings for more information
on Kerberos).
THE JUDGES
A pair of great bronze gates covered with the ancient laws of the
Underworld divide the liminal world of Erebos from the Underworld
proper. The Gates of Haides are the ultimate layer of protection:
guarded by a monstrous hound, the only way in or out of the
Underworld and a barrier that is not only physical but also mystical
and social. Before the Gates sit the three Judges of the Underworld:
Minos, Rhadamanthus and Aeakos. Once mortals, they have been
drafted into service as judges after their deaths. Aeakos has the Keys
to the Underworld, Rhadamanthus holds dominion over Elysium and
Minos casts the final judgement on any questionable cases. The three
of them judge the Shades that come to the Underworld and decide
where they should end up. They enforce and adjudicate the laws of the
Underworld that all its denizens must abide by. The evidence in the
cases of all Shades is already set in stone when the soul reaches the
Underworld, as they are judged upon their lives rather than any
changes they make after death. When a person’s destination is
decided, Aeakos opens the Gates to allow the Shade through.
21
BOOK OF HEROES
R I V E R S O F T H E U N D E RWO R L D
The Underworld has five rivers that not only divide up its realms but
also carry immense significance to the gods. Each river serves its own
purpose and has its own dangers. With each river is a suggestion for
what their waters might do if gathered and taken to the surface world:
AKHERON
Akheron (meaning “distress”) was the son of Demeter, brother of

Persephone, who supported the Titans in the great battle between the
Titans and the Gods. Zeus hurled him into the Underworld as
punishment, where he became the River Akheron, a bitter river that
flowed across the surface of the world in Epirus. The cave the Akheron
flows into is well known in the local area as an entrance to the
Underworld.
Waters of Akheron: A glass bottle containing the waters of the River

Akheron, which flows towards the Underworld at all times, meaning it
gives a +2D bonus on any attempts to locate an entrance to the
Underworld. If emptied over a person, that person gains +2 Armour
until the water evaporates at the end of the scene or is dried off.
KOKYTOS
Kokytos (meaning “wailing”) is the river of lamentation where the souls

of the unburied dead wander the banks for a hundred years until they
are allowed to travel deeper into the Underworld and to their final
resting place. Kokytos is a circular river that flows in the opposite
direction to Pyriphlegethon and empties into Tartaros.
Waters of Kokytos: A glass bottle containing the waters of the River

Kokytos. If consumed, it causes an intense sense of mortality in the
drinker, who becomes overwhelmed by the futility of life and the
sorrow of the Shades who have passed on. The character cannot act
for ten minutes unless another character makes a Might (Diplomacy)
Test to break them out of it, and takes a -2D penalty on any skill
checks until the next sunrise.
PYRIPHLEGETHON
Pyriphlegethon (meaning “fire-blazing”) is a river that coils around the

Underworld and flows through the depths of Tartaros, with channels
that surface as hot springs and volcanoes.
Waters of Phlegethon: A small glass bottle containing the waters of

the River Pyriphlegethon. The water in this bottle is always boiling, but
the bottle is not hot to the touch. The water causes intense agony to
those who have transgressed if it touches them, inflicting 1D10+2 Risk
per bottle.
22
LETHE
The River Lethe (meaning “oblivion”) is the river of forgetfulness. It

encircles the cave where Hypnos and his brother Thanatos dwell,
flowing beneath the cypress trees that grow on its banks, and any who
drink from its waters lose their memories and identities entirely while
their thirst remains unquenched. Lethe is the closest of the rivers to the
House of Haides and flows near to its counterpart, the Pool of
Mnemosyne, which dwells beneath a poplar tree and restores memory.
Waters of Lethe: A small glass bottle containing the waters of the

River Lethe. This water is inky black and no light can penetrate it.
Anyone who drinks it forgets everything they have ever known and
even their own identity.
STYX
The most famous and powerful of the Underworld rivers, the gods
themselves dare not defy oaths sworn on the River Styx. The Styx is a
connecting path and boundary between the surface world, where the
living dwell, and the Underworld, where only Shades may walk. Styx is
also a goddess who sided with the gods as they battled the Titans and
thereafter, Zeus decreed that her name would be an inviolable oath.
The waters of the Styx are corrosive with strong, grasping currents that
mean any attempt to swim it is doomed to failure.
Waters of Styx: A small glass bottle containing the lapis lazuli blue
waters of the River Styx. Any oath sworn over this water carries the
weight of Styx’s divine blessing and those who violate it immediately
gain 3 Hubris.
23
BOOK OF HEROES
E T E R N A L D E S T I N AT I O N S
T H E A S P H O D E L M E A D OW S
The vast majority of Shades in the Underworld end up in Asphodel.

These endless meadows of ghostly white flowers covered by mist are
the resting place for all those who lived lives that were marked by
neither great evil nor great heroism. The Shades here exist in gentle
dullness, neither the pleasant and entertaining afterlife of the Elysian
Fields nor the endless punishment of Tartaros, slowly becoming aimless
shadows that cannot interact with one another or even notice one
another. Shades who have recently arrived in Asphodel may retain
more coherence, but walking through these meadows is an experience
of brushing past the faded shadows that remain of once vibrant lives.
There are a few exceptions to the shadowy beings of Asphodel: some
people are gifted the ability to retain their personalities and memories
after death, as the prophet Tiresias was by Persephone.
E LY S I U M
Also known as the Elysian Fields, the Fortunate Isles and the Isles of
the Blessed, Elysium is where the heroic dead are rewarded for their
great deeds. The Kretan King Rhadamanthus was given rulership over
Elysium after his death and now acts as one of the three Underworld
Judges. Elysium is a lush and beautiful plain with rich soil and fine
forests. Those who reside there are allowed to exist free of the grind of
life, whiling their days away pursuing the things they most enjoyed in
life with the heroes and great individuals of the world. Most heroes,
particularly those with divine heritage, can be found in Elysium after
their deaths, including Perseus and Kadmos.
TA R TA RO S
The feared and terrible place of torment, Tartaros is, like Erebos, one
of the primordial entities who dwells within Gaia’s caves. It is as far
from the surface world as Olympos is above it, the very deepest part
of the Underworld from which nobody returns. It has gates of iron and
a threshold of bronze, used as both a place to torment those who have
earned the ire of the gods and a prison for the terrible Titans
(guarded by the Hekatonkheires) after their defeat by the Olympian
gods. The most famous prisoners of Tartaros are Tantalos, Sisyphos,
Ixion, Tityos and Salmoneus (see Chapter Three: Chthonic Beings for
more information on them).
24
H O U S E S O F T H E U N D E RWO R L D
THE HOUSE OF NIGHT
The House of Night, where Nyx and her children dwell, is in the
darkest part of the Underworld. A beautiful and ancient house always
shrouded in darkness, the House of Night has a bronze threshold
through which Hemera leaves each morning to bring day to the world,
returning each evening as she crosses the threshold opposite her
mother Nyx, who shrouds the world in her cloak of darkness. This
passing over of responsibilities is genial and loving: Nyx and Hemera
greet one another warmly, understanding that their passing on the
threshold is a necessary part of the world’s existence. While each takes
their turn moving across the world, the other takes charge of the
House of Night. This can sometimes be a frustrating task, as Nyx’s
children are numerous and wildly different. Hypnos and Thanatos dwell
in their cave surrounded by poppies near the River Lethe but Nyx’s
many other children like Momus (blame), Nemesis (retribution) and
Eris (strife) are hardly the sort to make the House of Night a happy
and comfortable home. Much of Hemera and Nyx’s time in the
Underworld is spent watching out for and managing this family. Some
of Nyx’s children (such as Hypnos and Eris) are prone to get into
trouble and when they do, they always return to their mother for
protection. Not even Zeus himself dares breach the threshold of the
House of Night.
THE HOUSE OF HAIDES
The seat of Haides’ power in the Underworld, this estate is thronged

with Shades seeking an audience with the King of the Underworld. The
black stone walls are set with valuable jewels and minerals, as Haides
has the riches under the earth at his disposal, and he has provided a
small garden for his Queen Persephone that is one of the few places in
the Underworld that living things can grow. The two rulers of the
Underworld sit on thrones in the main hall with an endless line of
Shades filing past to request their intercession. The guards and
servants of Haides are numerous, taken from those who were excellent
at their jobs in life and have been granted an afterlife of service
where they are not condemned to the slow degrading of their identities
as other Shades are.
25
BOOK OF HEROES
I T E M S O F T H E U N D E RWO R L D
THE HELM OF HAIDES
The Helm of Haides, also known as the Cap of Invisibility, is the

ceremonial regalia of the ruler of the Underworld. It was forged by the
Kyklopes for Haides alongside the Lightning Bolt of Zeus and the
Trident of Poseidon when the three of them divided up the realms of
the world between them. The Helm of Haides conveys magical
invisibility on its wearer, which proved vital in the battle between the
gods and the Titans. The Helm has at times been in the hands of other
gods, such as Athena and Hermes, and even helped Perseus in
avoiding Medusa’s sisters when he slew the Gorgon. Haides is
understandably protective of this Helm, but it is a tempting target for
thieves who would become near impossible to find once they had
successfully stolen it. The user can activate this item by invoking the
Fates to become completely invisible for a turn. Use of this item
without Haides’ permission conveys +1 Risk, 1 Hubris and the Disfavour
of Haides.
THE CORNUCOPIA OF PERSEPHONE
Persephone’s power, like that of her mother Demeter, is rich with life.
Her Cornucopia is a goat’s horn overflowing with food, grain and
flowers, easily able to provide endless food for any Polis. The
Cornucopia remains fallow while it is with its mistress in the
Underworld, but during the celebrations that surround her time in the
sun, it provides feasts and libations for all who would worship her.
Persephone is easily swayed by tales of love and loss, and may be
persuaded to lend her Cornucopia to a starving city, where it provides
enough food to get through the lean months, but if it is not returned,
her anger withers the crops and corrupts the food and drink of both
the ailing city and the characters’ Polis. This item provides +3 Produce
per month for any Polis that holds it, but if Persephone wishes for it
back, it provides -2 Produce to that Polis and the Polis of the
characters (if different) until it is returned to her.
BLOOM OF PERSEPHONE
A night-black flower with gold-edged petals, the flowers that grow in

Persephone’s Underworld garden are charms that convey her blessing.
If gifted by Persephone, they provide +1D to any skill check to interact
with the natural world. If stolen from the garden, they rot and wither
as soon as the thief touches them, staining their fingers and causing
them to despoil any food or drink they touch. This curse can only be
lifted by Persephone gifting another flower, which the hapless thief
must eat.
26
THE HEAD OF ORPHEUS
Orpheus, the famed singer and poet, wandered the world when he lost
his Eurydike until finally he was torn apart by the Maenads, followers
of Dionysos, for shunning the worship of their god. His head and lyre
continued to make mournful music as they floated down a river and
when they were retrieved, the head of Orpheus became an Oracle. The
location of Orpheus’ Head is uncertain, but perhaps it could someday
be brought to the Underworld as a gift to Haides’ court and he would
be reunited with his fair Eurydike.
The Head of Orpheus is an oracular item and entity: if a character

offers a gift of music to what remains of Orpheus, he provides them
with one prophecy in exchange. This knowledge should be clearer than
Augury and relate to a significant event in the future of the prophecy’s
subject. Invoking the counsel of Orpheus gives +1D on any check made
to persuade people of a course of action in response to one of
Orpheus’ prophecies. At the discretion of the GM, the Head of
Orpheus can be installed in a shrine and become a city Retainer (but
only with Orpheus’ agreement). This gives one free use of the Consult
an Oracle downtime Action per downtime or alternatively one reroll on
a single City Action.
T H E LY R E O F O R P H E U S
This lyre was gifted to the young Orpheus by Apollo and allows those
who play it a small portion of Orpheus’ power to enchant any living
thing. By invoking the Fates and rolling a Cool (Perform) roll, whoever
plays this lyre may hold the attention of any living being for a round.
If used during a negotiation, the Difficulty of the negotiation is always
0 as the other party becomes more sympathetic towards the musician’s
cause.
T H E S H AC K L E S O F T H A N ATO S
Thanatos, Death himself, travels between the worlds dutifully dragging

the dead from their lives. His shackles are inescapable once in
place—even Thanatos himself could not escape them when Sisyphos
tricked him into them, and for a while no-one could die. Thanatos
carries these shackles with him everywhere as the primary tools of his
duty and they can be used to bind anyone or anything. If the person
carrying these shackles makes a successful Pin maneuver, they can
invoke the Fates to make a Might (Lore) skill check at Difficulty 0 and,
if successful, capture their enemy in the Shackles of Thanatos. Anyone
shackled in this way can do nothing that requires physical interaction
as they are completely bound in place, their vital force leached by the
chains. Whoever placed the chains can release them with an Incidental.
Using the Shackles of Thanatos adds both a point of Risk and a point
of Glory to the character who uses them. In addition, if the Shackles
are stolen from Thanatos, he hunts the person who stole them
mercilessly, conveying the Disfavour of Thanatos to anyone who uses
them.
27
BOOK OF HEROES
KHARON’S OBOL
A coin placed in the mouth or under the tongue of a corpse so they

have payment to reach the Underworld on the Ferryman’s boat. These
coins hold a certain magical quality once used, touched as they are by
death, and give a +1D to skill checks made to invoke magic or rituals,
+2D if those rituals relate to death or funerary rites. Any ritual using
coins retrieved from corpses cannot gain its heroes Glory and the coins
cannot be used to pay the toll to travel to the Underworld (as they
have already been used).
TA B L E T O F M YS T E R I E S
The etiquette and rites of the passage to the Underworld, set out on a
gold tablet usually placed on the mouth of a cultist’s corpse during the
funerary rites for a member of a Funerary Cult. These can only be
obtained by grave robbing or through a Funerary Cult, who are
reluctant to give up their secrets. A member of a Funerary Cult can
obtain one of these tablets without any difficulty, but if they allow
anyone outside the cult to read it, they are cast out from the cult until
they can purify themselves and return. A Tablet of Mysteries gives +1D
to all social skill checks to interact with denizens of the Underworld or
tests to navigate the Underworld. It can instead act as payment on the
River Akheron.
THE WINGED SANDALS OF HERMES
Hermes is one of the few gods, like Hekate and Thanatos, who travels
between the realms of the living, the dead and the gods. With his
winged shoes, he can travel to the depths of the Underworld in the
blink of an eye. Created by the Smith God Hephaestos, the shoes are
made of imperishable gold and allow Hermes to fly as fast as a bird,
leaving no footprints even when he lands. Hermes has on occasion lent
his shoes to others: Perseus borrowed them to slay Medusa. Hermes is
near-impossible to steal from as he is a wily god and thief himself, but
he is also generous with his help towards heroes he likes and so might
lend them for a specific purpose. A character wearing the Winged
Sandals of Hermes can invoke the Fates to fly as though they were a
bird for a turn, with complete control over their flight, and gain a +2D
bonus on skill checks where flying or leaving no footprints would be an
advantage. If the character does not end their turn on a solid surface,
they fall directly downwards.
28
POPPIES OF HYPNOS
The sweet poppies that grow around Hypnos’ cave are prized for their
potency, far beyond that of poppies on the surface world. Plucking
them requires walking the banks of the River Lethe, which carries its
own dangers, and anyone who attempts to pick the poppies or rescue
someone from the field of flowers must make a Cool (Vigour)
resistance roll before every Action they take or else fall asleep in the
poppies’ soporific cloud. Each Poppy can be used to create a Potion of
Hypnos with the Apothekary talent. The Potion of Hypnos can be
applied to a weapon, thrown to break on a surface, or put into food or
drink to cause immediate sleep. If more than one person is in a broken
potion’s immediate vicinity, at the GM’s discretion they might fall
instantly asleep, suffer a penalty to their actions, or they might have to
make a Cool (Vigour) skill check to stay awake.
CLOAK OF NIGHT
Nyx’s Cloak cannot be stolen except with the aid of a powerful being
such as Hypnos, who is a loyal son to Nyx most of the time, but could
perhaps be persuaded to help the player characters obtain the Cloak
of Night on the condition that it is returned to Nyx quickly. The
characters could negotiate with Nyx to borrow her cloak: Nyx is one of
the more sympathetic gods and could be willing to lend her cloak to
those who want to help one of her children. If the characters obtain the
Cloak of Night, they have only one day, the time between Helios’s
Chariot beginning its journey across the sky until Helios and his horses
dive beneath the Earth and the sun sets. If the characters fail to return
the Cloak within this time, night does not fall and when Helios is
resting, the world is left in an eternal twilight until Nyx can once again
spread her cloak across the world. When a character wearing the
Cloak invokes the Fates to activate it, they can plunge an area into
total darkness for three turns once every twenty-four hours: the person
who wears it and anyone else they choose can see clearly, but others
must use light sources or divine gifts of sight to see.
THE KEYS OF AEAKOS
Keys to the Gates of the Underworld, these heavy metal keys, wrought
of many materials including bronze, iron, wood, ivory, bone and stone,
allow access through any door or boundary in the Underworld. The
keys are large enough that they must be carried over one shoulder and
are held by Aeakos, one of the three Underworld Judges. Stealing
these keys is both incredibly dangerous and incredibly bold, though
mortals assisted by gods such as Hermes or a knowledgeable trickster
like Sisyphos might manage it. Whoever holds the keys is hunted
across all realms of the world and will undoubtedly incur the disfavour
of Haides when they are found, unless they have a very convincing
explanation or another powerful god intervenes on their behalf. While
wielding the Keys of Aeakos, characters may open any lock without a
test, but every time they do so, Haides becomes aware of where they
are and they gain +1 Risk.
29
CHAPTER 4
CHTHONIC BEINGS
The AEGEAN Core Book has more information on the Favoured Skills
and Symbols associated with Haides, Persephone and Hekate.
HAIDES
The dread king of the Underworld realms, Haides is an envious and

humourless god with a grasping desire to keep those things he believes
are rightfully his, whether it is the soul of Eurydike, his queen
Persephone or the vast riches of the Underworld’s mines. Haides is also
called Plouton by people fearful of drawing his attention, representing
his position as king not only of the shades and monsters of the
Underworld, but also of the riches in buried precious metals and gems.
Haides is moved by few things, but the pleas of his wife Persephone
can reach his stony heart, meaning that many people direct their
appeals for mercy to the Queen of the Underworld. Haides has a
fraught relationship with the Olympian gods, especially his two
younger brothers, Zeus and Poseidon. If Zeus commands that a Shade
4 / CHTHONIC BEINGS
be released from the Underworld, Haides usually complies.
USING HAIDES IN AEGEAN
Haides is the grand ruler of the Underworld, immensely powerful

within his own realm but without the bullish confidence of his brothers.
He is more reserved but iron-fisted in his rule. With his Helm of
Invisibility, he can travel the Underworld without being seen, silent as
death itself, and on the rare occasions that something occurs within his
lands that he does not know about, his fury is cold and authoritarian.
Haides himself is unlikely to be a major figure in any endeavours by
the player characters in the Underworld unless they seek out an
audience with him or are brought to him for judgement, but he is less
distant than mighty Zeus and his house is filled with petitioners
awaiting his decisions. He is more likely to send out his functionaries
and psychopomps, such as Thanatos, or allied gods who serve a role in
the Underworld like Hermes.
A S A PAT R O N
Haides is a grim and exacting patron. The duties of those he favours

are first and foremost to preserve the journey of the dead to the
Underworld. Sending Shades to their final rest, foiling those who seek
to escape and ensuring that funerary rites are properly observed are
all tasks that please him. His Favoured can always find the way to the
Underworld to seek out an audience with him. They understand the
nature of death better than most and might gain insights into the
deaths of those they encounter, whether it is the lurking shadow of
Thanatos behind a living person or the manner in which someone died.
31
BOOK OF HEROES
A S A N A N TAG O N I S T
The Disfavour of Haides is like the shadow of doom stretching towards

those who have angered him. They might be haunted in the night by
the Shades of the dead that have not yet been shepherded by Hermes
to the Underworld, or marked by Moros, the purveyor of Doom. Every
time they are Close to Death, they feel the icy waters of the Akheron
threatening to pull them under. Some Funerary Cults might consider
them affronts to the natural order and refuse to interact with them, or
even take it upon themselves to carry out some judgement of their own
to right the situation. There is a high chance that someone who dies
with the Disfavour of Haides will end up in Tartaros with a poetically
cruel punishment. Those who wish to regain Haides’ favour might
slaughter animals with black fur to honour him.
PERSEPHONE
The daughter of the gods Zeus and Demeter, Persephone (sometimes

called Kore) shares her mother’s purview over fertility, nature and
growth. When Zeus gave Haides permission to take Persephone as his
bride, Haides rode from the Underworld in a horse-drawn chariot to
carry her down beneath the earth. As Demeter searched in vain for her
daughter, the world was locked in winter. Zeus sent Hermes to the
Underworld to retrieve Persephone, but as Persephone had eaten four
pomegranate seeds, she was bound to return to the Underworld for
four months of every year, during which time, Demeter freezes the
world in her grief. When Persephone returns to the world, spring comes
again.
Persephone is a melancholy but dignified figure, her warmth and

kindness in contrast to her husband’s joyless demeanour. She is moved
by stories of tragic love in particular and can be persuaded to speak
to her husband on behalf of mortals, though she understands that the
dead passing to the Underworld is an important part of the world’s
cycles.
THE ABDUCTION OF PERSEPHONE
The tale of Haides and Persephone has undergone significant revisions

over time, and particularly in recent years. The original story of
Persephone is one in which Persephone’s father Zeus grants her uncle
Haides the right to abduct her to the Underworld and marry her, no
matter how Persephone feels about it. However, this can be sensitive
content to include in a game, and unless the player characters have an
opportunity to free Persephone from Haides (with all the resulting
consequences), we recommend the relationship between the two of
them is consensual and more equal in your game. As always, for any
themes of non-consent, dubious consent or controlling relationships,
check with your players before you include this content.
32
USING PERSEPHONE IN AEGEAN
Persephone is one of the few beings in the universe who can intercede
with Haides. She is a compassionate person and the House of Haides
is filled with Shades waiting to beg her for her help. She is not without
her own power as well, as the Eleusinian Mystery Cult spreads her
practices in the surface world and her bounteous blessings dictate the
rise of cities, while her anger blights the crops, causing the starving
people to riot.
A S A PAT R O N
Persephone’s favoured are never without food or drink, their stomachs

always full and their families always fed. They often have large
families who have hearty health in their old age and anything they
plant with appropriate ceremony springs forth from the ground with
plentiful harvest, enough not only to feed them, but also to spread to
their communities. They may be physically stronger or more robust, or
4 / CHTHONIC BEINGS
perhaps their presence lifts people’s hearts like the warm sun of a
spring day after a long winter.
Persephone’s power over the harvest and growth of the world makes
her a kind goddess most of the time, but when angered, her fury rots
wheat in the fields and infects orchards with parasites. Her kind heart
means that harming a person or community under her protection
causes her pain. Those with her disfavour spread rot wherever they go,
the grass withering where they walk and food turning to mould in their
mouths. They are cast out of communities for fear of the aridity that
follows them. To regain Persephone’s favour, hold a bounteous feast in
her honour, potentially with the help of her Mystery Cult, to which all
are welcomed and wine and harvest is offered to the goddess.
Alternatively, a talented musician or skilled orator could sway her
heart with a tragic tale to ask for mercy.
33
BOOK OF HEROES
NYX
The personification of Night, Nyx emerges Favoured Skills:

at the end of each day and spreads her ◆ Awareness
Cloak of Night across the sky. Nyx is a kind ◆ Diplomacy
but firm primordial entity, an enduring ◆ Lore
presence despite the conflicts between the
gods, though she is vengeful if anyone
harms her children.
While Nyx dwells in out of the way places and remains apart from
Olympian politics, she is so powerful as to be feared by Zeus himself.
She is associated with prophecy and may act as an oracle to those who
seek her out. Nyx has many children and is fiercely protective of her
brood. When threatened, many of them flee to her for safety.
◆ Hemera (day) and Aether ◆ the Oneiroi (dreams),

(brightness), ◆ the Moirai (the fates),
◆ Moros (doom), ◆ Nemesis (retribution),
◆ the Keres (destructive spirits ◆ Geras (old age) and Eris
of violent death), (strife), among others.
◆ Thanatos (death) and
Hypnos (sleep),
USING NYX IN AEGEAN
Nyx is a powerful deity who rarely pays attention to the brief lives of
mortals, caring more about her wayward family and her duties as the
Goddess of Night. When matters concern her children, Nyx is likely to
get involved in some way, and if the heroes can work out how to sway
her, she can be a useful ally in keeping Zeus or other gods at bay.
A S A PAT R O N
Those who pay homage to Nyx are visited by Hypnos, her son, who
blesses them with restful slumber. They could convey this boon to
others as well, providing a sleeping place for weary travellers where all
have deep sleep filled with only the most pleasant dreams at the
hands of the Oneiroi. They also find that moving stealthily in the night
is easier for them, as Nyx hides her followers in her Cloak of Darkness.
Those who anger Nyx had best be ready to never have another full
night’s rest. Hypnos deserts them in disgust as the Oneiroi plague
them with nightmares. They are driven to chase the setting sun in the
vain hope that the night’s terrors are kept at bay a little longer. Even
their stealthiest deeds in the night are revealed to all as shadows draw
back from them. To pacify Nyx, seek out a cult of Nyx or of her twin
sons, Hypnos and Thanatos, or aid one of Nyx’s many other children so
they will intercede with their mother on the transgressor’s behalf.
34
OTHER GODS
EREBOS
The personification of Darkness, Erebos is also a physical realm of the

Underworld, which souls first pass through to reach their final resting
places. Like Nyx, Erebos was one of the first primordial beings to be
born. With Nyx he created Aether and Hemera, the brightest light
born of the deepest darkness. Erebos largely does not intervene in
mortal matters, but his presence might be felt by those who pass into
the Underworld, a chilly and unfeeling darkness that few ever escape.
H E K AT E
The witch queen of the ways between, Hekate is a goddess of the

liminal spaces, doorways and crossroads. She sometimes appears with
three faces or as three people and many of the poisons of the world
fall within her purview. She slew the Giant Klytios with her torches and
4 / CHTHONIC BEINGS
was honoured by Zeus with power over land, sea and sky. Worshipped
particularly by the witches of Thessaly, Hekate is a protector of the
household and is followed by a pack of hounds. Hekate is a mysterious
and powerful being who is able to cross any boundary and elusive
enough that her presence is far from certain, even for those she
favours.
Hekate is most likely to be swayed by the pleas of her cultists, but they
have their own agendas. She is more closely connected to her mortal
followers than many of the deities and with her ability to move
between worlds, she may walk amongst them during rites or when she
is pursuing her own enigmatic plans.
HYPNOS
The personification of Sleep, son of Nyx, Favoured Skills:

Hypnos is a lighter-hearted being than his ◆ Awareness
sombre brother Thanatos. He is calm and a ◆ Knowledge
little whimsical, living in a large cave on an ◆ Manipulation
island at the banks of the River Lethe, the
Underworld river whose waters bring Symbols:
forgetfulness. The entrance to his cave is
◆ Cottonwood
surrounded by poppies and other plants
◆ Poppy
that cause sleepiness and he lies on a bed
made of ebony. The Oneiroi follow their
sibling Hypnos around bringing dreams to
those he casts into slumber.
35
BOOK OF HEROES
T H A N ATO S
The personification of Death, Thanatos is a Favoured Skills:

dour and dutiful winged young man. Living ◆ Lore
beside his brother Hypnos in the ◆ Medicine
Underworld, Thanatos is in no hurry to go ◆ Vigour
anywhere: after all, none can escape him.
He does not take any joy in bringing Symbols:
people’s lives to an end when the Fates cut
◆ Butterfly
their thread, but he takes the duty entrusted
◆ Inverted torch
to him seriously, knowing that the rule of
◆ Poppy
Death must be absolute. He cannot afford
◆ Sword
to make exceptions: only Haides can grant
such reprieves, as without an impartial,
dutiful servant like Thanatos, the natural
order of the world would be upended.
Thanatos mostly moves silently and invisibly about the world, and so
the characters are only likely to meet him if they have to seek him out
or are sought out by him. When they do, speaking with him is like
looking into their own graves.
HERMES
Hermes is one of the few gods who can travel easily from Tartaros to
Olympos thanks to his winged sandals. He acts as a psychopomp to
the souls of the dead, bringing those that Thanatos strikes down to the
ferryman Kharon. Hermes rarely stays long anywhere, but he can hear
the pleas of his Favoured more clearly than many of the Olympian
gods while they are in the Underworld and might offer assistance to
travellers in Haides’ kingdom. He is also a good source of information
about the denizens of the Underworld and his influence could be used
to persuade Kharon or the Judges to let a Favoured hero through.
KHARON
The Ferryman of the River Akheron, Kharon ferries the shades of the
dead to their eventual place within the Underworld. Souls gather on
the shores of the Akheron awaiting the silent ferryman, but any who do
not have a coin with which to pay their passage must remain there for
a hundred years, after which time they are allowed to cross. It is for
this reason that a coin is placed within the mouth of a corpse during
the funerary rites.
Kharon is largely unspeaking, appearing as a mysterious robed figure,

but nevertheless has a dry sense of humour and is not without
sympathy for those travelling the Akheron. He can be bargained with
along the river or from its banks. The classic obols are the price of a
trip, but for what limited information he can convey, or other favours, a
tablet made of precious metal with an introduction from a funerary
cult may suffice, or perhaps a story or song from the surface world.
36
T H E P R I S O N E R S O F TA R TA RO S
TA N TA LO S
One of the famous prisoners of Tartaros, Tantalos was a mortal king
who decided to test the gods when they arrived at his dinner table in
disguise. He killed his own son, Pelops, and served him as a meal to the
gods. Zeus immediately saw what Tantalos had done and cast him
down to Tartaros, where he would be punished for eternity by being
kept in hunger and thirst while standing in a pool of water with grapes
overhead that were always just out of reach.
Pelops was returned to life by Klotho, one of the three Moirai (Fates),
on Zeus’s orders. She collected the parts of Pelops together and
reformed him in a magic cauldron. The only piece missing was his
shoulder, which Demeter had eaten while she was distraught about
Persephone’s disappearance. Klotho had Hephaestos create a new
ivory shoulder as a replacement, which Demeter presented to Pelops.
4 / CHTHONIC BEINGS
SISYPHOS
A wily trickster, Sisyphos first attracted the ire of the King of the Gods
when he traded information on the location of Zeus’s romantic
assignation with Aegina to Aegina’s father Asopos, in return for a
spring of pure water in his Polis of Korinth. Zeus killed Sisyphos and
sent Thanatos himself to ensure that Sisyphos did not escape on his
journey to the Underworld. Even Death himself was not immune to
Sisyphos’ fast talking and Sisyphos tricked Thanatos into his own
shackles. When they found that nobody on the surface world could die,
Ares and Zeus intervened and sent Sisyphos to the Underworld.
Sisyphos then revealed his next contingency plan: he had asked his
wife Merope to not bury his body, and so persuaded Persephone that
he was still alive and should be allowed to return to Earth for three
days to punish his wife and arrange his funeral, only to remain on the
surface until he died of old age. To ensure he did not escape his fate a
final time, Zeus turned to Hermes, who dragged Sisyphos down to the
Underworld, where the Underworld judges imprisoned him in Tartaros
with the endless task to roll a heavy boulder up a hill all day, only for
it to roll back down the hill right before it reached the top.
IXION
Ixion’s initial crime was far from the greatest, but it was one of the
first. He was the first to murder a kinsman when he laid a pit trap of
burning coals for his hated father-in-law, Eionos. Such a crime was
unprecedented at the time, so Zeus invited Ixion for a purification
ceremony on Olympos. Ixion accepted and was even given a place at
the table of the gods, but during the banquet, he tried to seduce Hera.
Hera, having none of it, complained to Zeus, who made a cloud look
like Hera, which Ixion then attempted to have sex with, proving that he
would disrespect Zeus and Hera if given the opportunity. Zeus
condemned Ixion to be bound with snakes to a fiery, winged four-
spoked wheel in Tartaros.
37
BOOK OF HEROES
T I T YO S
A giant who was one of the many, many children of Zeus by a mortal
princess. Zeus hid Tityos’ mother Elera deep beneath the earth to keep
her from Hera, but as Tityos grew larger, his mother died in labour and
Gaia herself acted as the womb in which he was brought to term. He
was persuaded by Hera to assault Leto, another of Zeus’s lovers, but
Leto’s children Artemis and Apollo defended their mother and killed
Tityos. Zeus imprisoned Tityos in Tartaros where he was stretched out
on a rock and his liver eaten by two vultures.
SALMONEUS
A cruel king of Thessaly who was forced out by his brother Sisyphos on
claims of incest with his own daughter. He founded a new city named
after himself and demanded the worship of the people, claiming to be
as powerful as Zeus. He used tricks to convince the people of his divine
nature, driving a chariot through the streets with bronze cooking pots
attached to the back to imitate the sound of thunder. He hurled oak
branches he lit from a brazier in the chariot as Zeus’s famous lightning
bolts. Angered by Salmoneus’s hubris and the impiety of the people
who worshipped him, Zeus destroyed the city with a real lightning bolt
and cast Salmoneus down into the Underworld.
Salmoneus or an imitator could be a fantastic villain for an adventure,

an Arkhon who is supposedly a god among mortals, but is in fact
tricking the people into worshipping him. Perhaps one of the gods asks
that the player characters intervene to save the pious people of the
city, as one last chance to avert a disaster from Zeus’s lightning bolts
when he finds out what is happening. The characters could even
journey to Tartaros and ask Salmoneus about his tricks to get insight
into how the perpetrator is faking his divine powers.
38
U N D E RWO R L D T H R E AT S
Many enemies from the AEGEAN Core Book have connections to the
Underworld that mean they could show up in stories set in the
Underworld, or in heroic adventures on the surface that are linked with
the chthonic realms. The Keres are children of Nyx and might be found
near her house, the Cattle stats could be used to represent the black-
skinned cattle of Haides, guarded by Menoetes, the Hounds of Hekate
in the adventure at the end of this book use the same stats as War
Dogs and many of the Monsters outlined in the Core Book could easily
be included in an Underworld adventure. It is also entirely possible to
reskin some of the Core Book human threats for use in the Underworld.
For instance, adding elements of different kinds of warriors from the
Core Book could differentiate ghostly threats from each other, or be
used to represent the guards and servants of Haides.
ARAI MINION
4 / CHTHONIC BEINGS
Curse spirits summoned and directed by the use of curse tablets, the Arai seek
out the victim of their curse and harry them night and day, giving them not a
moment’s peace. The curse can only be lifted by the will of the Gods or by the
curse-giver ending it.
Tactics: The Arai hunt in groups and prefer hit and run tactics over a stand up
fight. They use their darts at range to pierce people with the guilt of their
actions, bringing their targets low with visions of their doom. If they are attacked
in melee, they are likely to use their Hit and Run ability to break away and
resume their assault from elsewhere on the battlefield. When slain, the Arai
dissipate into nothingness and return to the Underworld until they can hunt their
target once again.
Characteristics Skills Attributes

Might: 2 Accuracy: 2 Endurance: 3
Reflexes: 3 Athletics: 2 Armour: 2
Cool: 1 Awareness: 2 Dodge: 1
Insight: 2 Brawl: 2
Cunning: 2 Lore: 2
Abilities
Judgement is Due: If an Arai uses Darts of Doom on a character who is Cursed
by the Gods or is the victim of a curse by a mortal, that character is Stunned as
Moros overwhelms them with a vision of their own Doom.
Hit and Run: Arai can invoke the Fates to activate this ability as a Reaction
when they are attacked and instantly teleport to another point within Short
range of the attacker before they take any damage.
ATTACK SKILL DICE R/R DMG. PROPERTIES
Claws Brawl 4D 1 2 —
Darts of Doom Accuracy 5D Short 3 Pierce, Reflexes
39
BOOK OF HEROES
FURIES CHAMPION
The Erinyes, called the Eumenides (Kindly Ones) by those who fear invoking
their wrath, are monstrous creatures borne of the blood of Ouranos where it fell
upon Gaia when he was castrated by Kronos. Named Alekto, Tisiphone and
Megaera, they are the embodiments of vengeance and can never truly be
stopped, only delayed. They can take different forms, but are mostly seen as
three bat-winged women with snakes twisting through their hair.
Their worst vengeance is reserved for those who commit crimes towards their
family members, such as Orestes and Oedipus. The only known way to stave off
their grasp is through a trial presided over by a respected authority where
judgement is ruled on the crimes of the transgressor. Athena, as an arbiter of
law, is often appealed to during these trials, as her judgement carries divine
weight, but even her intercession might leave the Erinyes angry at being robbed
of their vengeance. When a city has allowed a criminal to go free, the Furies may
harass the city as a whole and the entire city must undergo a ritual purification
to free it of their torment.
Tactics: The Furies may look like women but they are ancient beings with no pity
for those who have earned their vengeance. Transgressors of pettier crimes might
be pursued by the Arai, but only the most heinous crimes attract the attention of
the Furies. They might hunt together or alone, tracking their prey across every
world. The Furies use three primary weapons: a burning spear, a cup of stinging
poison, and an iron whip. Combined with their manoeuvrability and tireless
pursuit, they are terrifying foes. If they are driven off, they retreat only to return
to their target when they have recovered their strength.

Might: 3 Athletics: 4 Endurance: 8
Reflexes: 4 Awareness: 3 Armour: 4
Cool: 3 Melee: 4 Dodge: 2
Insight: 2 Survival: 2 Parry: 2
Cunning: 3 Vigour: 4
Abilities
Burning (Active): The target character and any character within Melee range of
the target when this property is activated, gains Burning 2 for 2 rounds.
Flyer: This creature can fly. It ignores all penalties for rough terrain and gets a
free Move Maneuver per turn. It must make a Move Maneuver every turn or stall.
It ignores up to 2 Risk when disengaging from a non-flying opponent.
Poisoned Chalice: Invoke the Fates and use an Action to activate this item
against all enemies at Short Range. Every target must make a Reflexes (Vigour)
roll to resist the attack or gain 1 Risk and suffer a -1D penalty to all skill checks
until they take an Action to clean the stinging poison from their skin.
Burning Spear Melee 7D 3 6 Burning 2/2, Parry 2

Whip of Iron Melee 7D Short 4 Entangle, Pierce
40
H E K ATO N K H E I R E S LEGEND
Three children of Gaia and Ouranous, the Hekatonkheires were so hideous that
Ouranous pushed them back inside Gaia’s womb, along with the Kyklopes, in
horror that they had produced such offspring. Named Briareos, Kottos and
Gyges, these vastly strong giant beings have fifty heads and a hundred arms.
When they assisted Zeus in the war against the Titans, he assigned them a new
purpose: guard the prison of the Titans in Tartaros for eternity, to ensure they
could never escape.
Tactics: The Hekatonkheires are unlikely to attack anyone who does not attempt
to breach the Titans’ cage, but since they are huge, they might also not notice if
they step on a smaller being as they patrol Tartaros. In the event of fighting one
of the Hekatonkheires, they are terrifying foes with a mass of arms and heads
that blur in motion as they bring the crashing horrors of the depths of the earth
upon their foes.

4 / CHTHONIC BEINGS
Reflexes: 4 Brawl: 4 Armour: 4
Cool: 1 Melee: 2 Dodge: 2
Insight: 1 Survival: 1
Abilities
Fearsome: Anyone facing one of the Hekatonkheires for the first time must make
a Cool (Vigour) Resistance roll with a Difficulty of 2 or suffer a -2D penalty to all
skill checks while facing them. A failed roll can be repeated on the start of the
character’s next turn.
Great Leap: Invoke the Fates and perform a mighty leap to close the space
between themselves and an enemy, immediately taking an Action afterwards.
Titanic: This creature is gigantic in size. Increase the Difficulty of all Pin Actions
made against it by 3. Successful Pin Actions don’t prevent the creature from
making a Move Maneuver unless the attacker has either the Huge or Titanic
ability.
Whirling Limbs: Invoke the Fates to attack everyone within Short range in the
fight, at a cumulative -2D penalty for each target beyond the first.
Hundred–Handed Brawl 12D 7 Heavy, Stagger, Stun

Boulder Throw Accuracy 8D Medium 4 Stagger
41
BOOK OF HEROES
H O U N D O F H E K AT E MINION
The legendary dogs belonging to Hekate, the witch goddess, are rarely set upon
mortals, but her coming is heralded by their howls and some say that they are
restless souls or daimons who accompany her and take the form of dogs. Hekate
is a protector of those who travel between worlds, but when angered she is a
dangerous foe, as she cannot be held back by any boundary. She sends her pack
of spectral Hounds after those who have angered her, tireless and deathless
enemies that can only be evaded for a time.
Tactics: The Hounds of Hekate are fast hunting dogs who are built for speed
and endurance rather than strength. They take physical form while on the hunt
and can be fought, or the characters can attempt to mislead them with the sort
of tactics that throw mortal hounds off the scent. With a successful
Cunning(Survival) roll, a character can lay down false trails, use bundles of herbs
that confuse the dogs’ noses, navigate through water to drown the scent, or put
down traps that slow them down. If the characters fight the dogs and successfully
slay them, they discorporate for one night with spine-chilling howls, but return the
next night as soon as the sun has set. The Hounds of Hekate only cease their
hunt when their prey is dead, Hekate is placated or the characters pull some sort
of ploy to misdirect Hekate onto another target.

Cool: 3 Brawl: 3 Dodge: 2
Abilities
Keen Senses: Gain +2D when tracking prey using the Survival skill or on
Awareness rolls which involve hearing or smell.
Howl of Doom: Invoke the Fates to let out a spine-chilling howl as a Maneuver.
Any character who hears it must make a Cool (Vigour) resistance roll or take 1
Risk and -1D on all rolls to target or defend against this creature.
Bite and Claws Brawl 6D 2 3 Pierce
42
H U N G RY S H A D E S MINION
Driven by deep, gnawing hunger for the blood of the living, these Shades largely
cluster at the banks of the Underworld rivers, but during a rite such as the
nekyia, they surge forth into the living world to lap up the essence of life
contained in the blood spilled for the ritual, or within those who performed it.
Hungry Shades are restless and angry, unable to find peace. They direct this
anger towards those who are still living, an eternal reminder of the importance
of a final send-off. While it is rare to find these ghosts in large numbers unless
under the direction of another being or clustered on the shores of the
Underworld rivers, they could occur in places where natural disasters have left
many corpses unburied or unable to be retrieved.
There are three kinds of Hungry Shades: Ataphoi, those who were not buried with
proper funerary rites; Aōroi, Shades of those whose lives were cut short and died
with unfinished business, and Biaiothanatoi, who died violently. These different
versions could be reflected by small changes to their stats, for instance giving the
4 / CHTHONIC BEINGS
Shades of warriors slain in battle armour and weaponry.
Tactics: Hungry Shades are mindless ghosts who have lost all vestige of who they
once were. Whether they could not pay their way along the River Akheron or did
not understand the mystic etiquette of the Underworld, they sense the death
rituals such as the nekyia as beacons and flock towards them.

Insight: 2 Knowledge: 2
Cunning: 2 Lore: 2
Vigour: 2
Abilities
Hunger of the Dead: Hungry Ghosts gain +1D to all skill checks made in the
presence of spilled blood.
Claws Brawl 5D 1 3 —
43
BOOK OF HEROES
KERBEROS LEGEND
The Hound of Hades, Kerberos is the multi-headed dog that guards the entrance
to the Underworld. Born of the monstrous Titans Typhon and Ekhidna, Kerberos
has a serpent for a tail, snakes along his spine and three dog heads. Kerberos
has been overcome once, when Herakles grappled him and bound him in chains.
Defeating Kerberos is worth 1 Glory. Killing Kerberos gains the Disfavour of

Haides and Persephone to all involved.
Tactics: Kerberos is a dangerous foe, but can be placated rather than overcome.
He is strong and fast with a venom that can exhaust a group of enemies. He will
retreat only when severly wounded. Groups who don’t wish to attack Kerberos can
try to drug him with raw meat or use music to send him to sleep and sneak past
as he slumbers. If overpowered, Kerberos can be chained and ransomed back to
Haides or Persephone in exchange for a favour, though a chain not reinforced
with divine magic won’t hold him for long. To chain Kerberos, a character must
Pin him until someone makes a successful Might (Survival) skill check.

Insight: 4 Manipulation: 2
Cunning: 4 Survival: 2
Vigour: 5
Abilities
Keen Senses: Gain +2D when tracking prey using the Survival skill or on
Awareness rolls which involve hearing or smell.
Many Bites: Kerberos can make three bite attacks and one snakebite attack per
turn against one or more opponents at Melee range.
Lashing Strike: When a character makes an attack against Kerberos that does
no damage, either through Armour, Dodge, or a failed attack, invoke the Fates
to cause the attacker to gain 3 Risk.
Venomous (Active): Any character who suffers a successful Harm Action when
this property is activated, whether or not they gain Risk or suffer a Wound, gains
Poison 2.
Bite Brawl 10D 2 6 Pierce, Savage

Snakebite Brawl 10D 3 5 Venomous
Arcane Lore
The venom of Kerberos’ serpent head can be harvested to make a bottle of
venom. While Kerberos is chained or asleep, anyone with the Arcane Lore talent
who succeeds on a Cool (Survival or Medicine) skill check gains one bottle of
venom with the Poison 2 property. With an Action, a character can apply to any
weapon. The poison has a single use and can be activated by invoking the Fates.
44
M Y S T E RY C U LT I S T CHAMPION
The secret practices of cults, especially those centred around funerary practices
or Underworld travels, are mostly ceremonial and harmless, often providing
ritualistic or diplomatic support within a city. Some take things to another level,
however, and are willing to kill those who stand in the way of their goals. The
stats here are for Cultists whose mysteries centre on death and the Underworld,
but they can easily be adapted to reflect other traditions or themes. Mystery
Cultists have the capability to communicate with and command the Shades of
those who were not properly buried with the appropriate rites. Some cults might
even go so far as to perform different rites over some corpses to trap them into
service. They can summon the use of Hungry Shades and pronounce potent
curses upon those who defy them.
Tactics: Mystery Cultists are likely to rely on their Temple Guards and Temple
Captains to protect them, but their familiarity with the visceral nature of life and
death, as well as the secrecy that surrounds their operations, makes them more
willing to defend themselves aggressively with Pronouncement of Doom and
4 / CHTHONIC BEINGS
Unearthly Summons.

Might: 2 Awareness: 2 Armour: 0
Reflexes: 2 Diplomacy: 3 Shield: 0
Cool: 4 Knowledge: 3 Parry: 1
Insight: 4 Lore: 4 Endurance: 4
Cunning: 3 Manipulation: 3 Standing: 2
Medicine: 2
Melee: 3
Vigour: 2
Abilities
Pronouncement of Doom: The touch of Thanatos is upon the victim of this curse
as the hour of their death draws nearer. The character may use Cunning (Lore)
to make a Harm attack upon someone in their presence, with each success
inflicting 1 point of Risk on the target, ignoring armour. A target who has the
Favour of an Underworld deity or entity reduces this Harm by 1. The Cultist also
gains 1 Risk and if they get no successes on the attack, all members of the Cult
gain Disfavour (Thanatos), as they tried to command Death himself.
Summon Assistance: Invoke the Fates to take an Action that summons 4
Minions, mortal guards or Hungry Shades, who arrive immediately and go next
in the initiative.
ATTACK SKILL DICE R / R DMG. PROPERTIES
Cunning, Parry 1, Pommel

Makhaira Melee 6D 1 3
Strike
Makhaira (thrown) Accuracy 2D Short 3 —
Pronouncement of
Lore 7D Medium 0 Cunning
Doom
45
BOOK OF HEROES
ONEIROI MINION
The beings that follow Hypnos and weave dreams through the minds of sleeping
mortals, the Oneiroi are playful beings that cluster around Hypnos’ Cave and the
edges of the lands of dreams, weaving their illusions into nightmares.
Tactics: The Oneiroi are mischievous rather than aggressive, easily bored but not
likely to stay in the fight if things become too dangerous for them. They can be
driven off, or if the heroes amuse them, helpful to the extent that such fickle
entities can be relied upon.

Might: 2 Awareness: 2 Endurance: 2
Reflexes: 3 Brawl: 2 Armour: 0
Cool: 1 Diplomacy: 1 Dodge: 2
Insight: 4 Knowledge: 2
Cunning: 3 Manipulation: 5
Perform: 4
Abilities
Sweet Dreams: As an Action the character may make an Insight (Manipulation)
skill check. If successful, one other character in the scene becomes overwhelmed
by a dreamworld and cannot act in the real one until they make a Cool
(Knowledge) skill check at Difficulty 1.
Nightmare: As an Action the character may make a Cunning (Manipulation)
skill check. If successful, one other character in the scene increases their Risk by 2
and takes a -1D penalty on all actions as they are beset by horribly convincing
nightmares.
Claws Brawl 6D 1 2 Insight
46
CHAPTER 5
SLEEP NO MORE
BOOK OF HEROES
‘Sleep No More’ is an adventure that can be run as a one-shot or as

part of an ongoing campaign. The heroes begin on the road back to
their polis after a journey, so it can very easily follow an adventure,
and it gives an excellent opportunity to introduce the Underworld
deities into an existing campaign.
SYNOPSIS
Sleep has been banished from the surface world, putting every polis in
danger of grinding to a halt. Meanwhile, attacks by spectral dogs have
become increasingly common and the night sky itself seems to roil in
anguish. The heroes learn that the god Hypnos no longer walks the
surface world as he should. Not only that, the Hounds of Hekate have
been attacking people seemingly at random in the night. The heroes
must travel to the Cave of Hypnos, deep in the Underworld, to discover
the truth and restore order to the world. They learn that the goddess
Hekate, angered by a trick Hypnos played on her, has poisoned him
and he must be restored to health before sleep can return to the world.
BAC KG RO U N D
Hypnos, the mischievous god of sleep, enchanted the witch goddess

Hekate to fall asleep as a prank and her spectral hunting dogs have
escaped and are running loose across the world. In retaliation, Hekate
poisoned Hypnos with aconite, a potent poison that falls within her
sphere of influence, knowing that his closeness to his brother Thanatos
would mean that he did not die but remained trapped on the threshold
of death. Hekate applied the poison to Hypnos as he slept in his cave
and he slipped into a state of near-death. She wove a spell of
invisibility around his unconscious form so his family could not find him,
even if they visited his cave. Hypnos’ mother, Nyx, is distraught at his
absence and the night has become disrupted, while Hypnos’ brother
Thanatos has become too busy with the increased death toll on the
surface to search out the god of sleep.
G E T T I N G S TA R T E D
The heroes are returning to the polis from some distance away,
perhaps on a heroic adventure or following a diplomatic duty in
another polis. Last night, they heard strange howls in the night that
seemed to come from all around, but the unseen dogs that made them
left no tracks. They have spent a day on the road and are half a day
from their polis, making camp by the roadside for the night. Try as
they might, none of the characters can sleep. As the sun sets, the sky
becomes an eerie, shifting darkness that is quite unlike the usual
comforting Cloak of Night that Nyx spreads across the world. As night
falls, the howls once again echo all around the countryside. It is
impossible to tell where they might be coming from, but all the
characters hear a scream from further down the road.
48
GODDESS OF THE CROSSROADS
If the characters investigate, they encounter a young woman wearing

farmers’ clothes running at full tilt down the road towards them
clutching a bloodied arm, pursued by five large spectral hunting dogs.
A successful Cool (Lore) roll reveals that these are the Hounds of
Hekate, the dogs that follow Hekate everywhere she goes, but the Hounds of Hekate, 42
goddess herself does not seem to be anywhere around. Indeed, with a
successful Insight (Survival) roll, a character can learn that they seem
like a pack of dogs without an alpha or a leader: they are wild,
undirected and snapping at whatever comes near.
The Hounds of Hekate are spectral until they have found prey, at
which point they manifest for the scene and attack. When the Hounds
take their Endurance in Risk, they discorporate with an angry snarl.
The woman, Korinna, owns a farm just down the road with her brother,
and if the characters protect her from the Hounds, she welcomes them
into her home for the night. Her brother, Linos, had to lock himself in
one of the farm outbuildings to survive the animal attack, but he is
5 / SLEEP NO MORE
safe. The siblings provide food and shelter to the characters. With a
successful Cool (Medicine) roll, a character can clean and bandage
Korinna’s hurt arm and any other injuries, learning that the dog bites
on her arm look just like those from any other dog even though they
were from clearly supernatural creatures.
Korinna and Linos have done nothing to anger Hekate as far as they
know and they have no signs of Disfavour upon them. They too have
not been able to sleep tonight. This seems for all the world like a
random animal attack, but Hekate’s Hounds do not attack at random
under normal circumstances. The characters can stay overnight or set
out for the polis, but they cannot recover their Risk as per a night’s rest
as they cannot sleep. On the road, they encounter the body of a
woodcutter who looks like he was also killed by the dogs, again with no
tracks on the ground except his own.
FAT I G U E P E N A LT I E S
For every day after the first that the heroes have not slept, they take a
cumulative -1D penalty on all rolls. This can be mitigated for a few
hours by the use of stimulant herbs or potions, which remove all fatigue
penalties until they wear off (rather than the usual +2D). These can be
purchased from local merchants in the polis at a hefty markup or
created by a character with the Apothekary Talent.
49
BOOK OF HEROES
POLIS IN PERIL
When the heroes reach the polis, they are greeted by a city in chaos,
the streets thronged with people arguing and carts and stalls upset
across the road. An Insight (Awareness) roll tells them that the locals
look haggard and confused. People are arguing in the streets or
staring into space, moving lethargically and carefully repeating work
to get it right. An Insight (Medicine) roll reveals that they all suffer
from the same sleep deprivation as the heroes are. Speaking to the
locals is at Difficulty 1 unless the hero is trying to incite violence, cause
an argument or in some other way play into their current state of
mind. Talking to the locals using Insight (Diplomacy), the heroes learn
that nobody in the city could sleep last night either.
They can either make for the tholos of their own accord or are
summoned by the Arkhon.
The tholos is bustling with people as you arrive. Ahead of you a

messenger is shown in from another polis, completely exhausted from
both running and lack of sleep. They report that the same sleeplessness
affected their own polis last night and beg for your Arkhon’s assistance
in resolving the matter.
The Arkhon looks as sallow and tired as everyone else and explains to
the heroes that this sleeplessness seems to be everywhere, and there
have been reports of wild animal attacks out in the countryside as well.
The people are terrified and being pushed to breaking point: the
Arkhon is concerned that they will riot if a solution is not found soon.
The heroes have a number of avenues for investigation.
THE HOUNDS
If the heroes haven’t yet identified the dogs as Hounds of Hekate, this
is a good opportunity to give them another chance to do so. Normally
Hekate’s Hounds hunt specific prey, but they seem to be running wild
across the surface world rather than trying to track down those who
have fallen foul of their mistress. The attacks reported are random as
far as anyone can tell and they are not harming livestock. The attacks
have been occurring for the last two nights, and the sleeplessness only
last night.
THE ASKLEPIEION
If the city has an asklepieia, the priests there are deeply concerned
about this wave of sleeplessness across the land. They don’t know of
anything medical that could be causing it, especially considering how
widespread it is. Those they have examined seem in perfect health and
most do not normally suffer from any sleep troubles. Their only
conclusion is that the problem is caused by something spiritual or
magical rather than physical.
50
THE SHRINE, TEMPLE, NEKROMANTEION OR

F U N E R A R Y C U LT
The priests believe that for some unknown reason, both Hypnos and
Hekate have forsaken the world and on top of that, Nyx is upset. They
don’t have an explanation as to why, though: the auguries have been
inconclusive.
A successful Insight (Lore) skill check gives the heroes some

background on the deities involved:
◆ Hypnos has been in trouble on occasion, as he is a somewhat

mischievous and capricious individual, but he rarely faces
consequences because his mother Nyx is someone even mighty
Zeus would be reluctant to anger.
◆ Hekate is usually a solitary deity, paying attention primarily to her
cultists, witches and those who have angered her. She can traverse
any boundary, and Hypnos is similarly able to move between the
Underworld and the surface world, so the two of them failing to
5 / SLEEP NO MORE
make an appearance is strange. The only way to learn what is
happening to Hypnos is to travel to the Underworld, where he
dwells in a cave, or to the House of Night where his mother Nyx
resides. Someone there will know the truth.
AUGURY
Auguries can give clues to the mystery, either disconnected or veiled in

mysterious symbolism. Some possible auguries you could include
(depending on where you want to direct the players’ attention):
◆ The River Lethe flows lazily past the Cave of Hypnos, where
ghostly poppies fill the air with heady sweetness.
◆ As you lie in a deep reverie, you hear the barking of dogs all
around you and you feel a moment of panic as they run free.
◆ A poppy (a symbol of Hypnos) is choked by another plant
(aconite, a poisonous plant which is associated with Hekate) and
dragged down under the earth by it.
B ROT H E R D E AT H
If the characters seek out Hypnos’s brother Thanatos or attract his

attention through highly successful augury rolls, he approaches them
to explain that his brother is missing. He is concerned about Hypnos
but has been too busy with his increased duties since the animal
attacks and the sleeplessness to investigate. He has never known the
Hounds of Hekate to run free like this before, and wonders what is
distracting their mistress. He suggests that to learn more, the
characters should make their way to his mother Nyx’s house, to Haides
and Persephone, or to Hypnos’ cave in the Underworld, where they
might find clues. If they agree to help him, he offers a single
opportunity to summon his assistance.
51
BOOK OF HEROES
P R E PA R I N G F O R T H E J O U R N E Y
Everyone knows that you cannot simply walk into and out of the
Underworld: travelling to the depths of Haides is a mighty
undertaking. The characters can spend some time identifying
challenges and preparing for the journey using * (Lore), or *
(Diplomacy) rolls to ask a local spiritual authority such as a Funerary
Cult, the temple priests or the priests at the Nekromanteion.
The first step is travelling to a Gate of Haides. If the characters are

based in a Nekropolis, they already have one of these and can
dispense with this step. Otherwise, characters can make Insight (Lore)
rolls to remember where a Gate might be or Cool (Diplomacy) rolls to
ask for stories of Gates nearby. You can use one of the legendary
entrances to the Underworld such as Lake Lerna, the Caves of Diros or
the surface part of the river Akheron, or you can make up a Gate near
to the polis to reduce the amount of time your heroes have to spend
on the road. Remember that every day of travel before they reach the
Underworld is another day of exhaustion, and every extra day leads to
more deaths and discontent. Ideally, the Gate to Haides for this
adventure should be within a day’s travel of the polis.
Beyond the entrance to the Underworld, the characters will need to

convince Kharon the Ferryman to take them on his ferry. They can try
to convince him using social interaction (though it is quite
challenging), they could attempt to pay their way (which is an easier
social interaction) or they could convince a member of the local
funerary priesthood to provide a golden tablet pleading their case. If
one of the characters has Favour or divine parentage of a relevant
deity (either one connected with the Underworld or one the
Underworld gods would respect), they can ask for help at a shrine and
are provided with a letter to take to Haides, Persephone or Nyx. No
matter their excuse for being down there, every character must have a
single Obol that is whole and unclipped.
Next is Kerberos himself, the three-headed canine guardian of the

Underworld. They can attempt to fight Kerberos or sneak past him, but
if they wish to attempt to drug him or lull him to sleep with music, this
is a good time to prepare for that plan.
Finally, the last point in Erebos before the Underworld proper is the
three Underworld judges at the Gates to the Underworld. The
characters could attempt to sneak in or persuade the Judges.
Beyond this point, they are on their own: the Underworld is mapped
only in legend and those who visit rarely return. They will have to rely
on their wits and skill.
52
T H E E N T R A N C E TO T H E U N D E RWO R L D
Whether by journey or the processional road from the polis, the

characters reach the entrance to the Underworld.
A deep river flows through a yawning cave mouth. The water darkens to
an inky blackness as it approaches the cave and the wildlife refuses to
go near, the bare stone around the cave devoid of plants. In the
distance, you hear the sound of a low waterfall. Pressing inside, the cave
is darker than it should be and even the light of torches or lanterns does
little to dispel the gloom. The rivers drain into the Akheron, you know,
and so you press on through the cold, damp dark, following the lapping
river into the shadows of Erebos.
The characters press on for what seems like too long, deeper into the
cave system, always following the river until there is no trace of
sunlight or breeze left. The river travels down a small waterfall and
5 / SLEEP NO MORE
empties into a much larger river with a weird blue cast to the water,
almost luminous. On the black-soiled banks, a host of Shades wait,
some patient, some clamouring. The characters might even recognise
people from the polis or further abroad who have died recently,
though any interaction with the Shades tells them that these are not
the people they knew, only the last remnants of their personalities:
hollow, lacking any kind of deep thought, preoccupied by their sorrow.
With the creaking groan of impossibly ancient wood, a ferry cuts

through the water. A figure far taller than a normal human stands
atop it, his ratty cloak moving in a breeze you cannot feel, only the
burning blue-grey light of his eyes visible in the deep shadows of his
hood. He has a pole in one hand and with a practised gesture, brings
the ferry to rest at the bank of the River Akheron.
If the characters have obtained a letter from a deity or a golden

tablet from a surface world group that would be respected in the
Underworld, they can personally get on board without a roll at the cost
of an Obol. Any characters who do not have this introduction but have
an appropriate coin can make Cool (Manipulation) or Cool
(Diplomacy) rolls with +2D. Any character who tries to persuade
Kharon without paying a toll or bearing an entreaty on a tablet must
make a Cool (Diplomacy) skill check at Difficulty 2.
If the characters fail this roll, they could try to sneak onto the Ferry
when Kharon is not paying attention. This is challenging (Difficulty 1),
though characters who have already talked their way on board could
try tactics like distractions to make the challenge easier. Alternatively,
they can follow the River Akheron and make their way down the banks.
This takes time and is extremely dangerous: the banks are haunted by
the Shades of those who remain caught between the rivers.
The characters must make Cunning (Survival) rolls to sneak past the
ghosts. If any of them still have a recent wound that is not healed, the
53
BOOK OF HEROES
Difficulty increases to 1, and if they spill blood while on the banks of

the river, the Difficulty increases to 2. If they fail, five Hungry Shades
attack them. The characters have to choose whether they fight with the
Akheron at their back or attempt to outrun the Shades.
If the characters go by ferry, the journey down the long, winding River
Akheron feels eerily timeless, the only sounds the whispering of the
Shades on the boat and the lapping of the water as Kharon propels
the Ferry forward. Kharon stops the boat at the banks of the river and
the Shades begin to shuffle off.
In the distance, you see a pair of mighty bronze gates carved with
ancient writing dimly lit by the pale fire in the braziers before them, with
three huge figures sitting on stone thrones in judgement. Before you can
even get near the gates, however, you must pass before a huge hound
curled up ahead of you. Two of his three dog heads appear to be
slumbering, but one has a wary eye open, watching the Shades pass by,
and his snake-headed tail flickers a tongue out now and then to taste
the air.
Every hero is familiar with the tale of Kerberos, the Hound who guards
the Gates to the Underworld. Kerberos is a mighty guard dog with
unswerving loyalty to his master, Haides himself. A successful Cool
(Lore) roll reminds the characters of stories in which the dog has been
sent to sleep with music or drugged meat or has been wrestled into
submission long enough to be chained. No mortal chain could hold
Kerberos for long but it could slow him long enough for the heroes to
slip into the mass of souls awaiting judgement near the Gates.
Alternatively, the characters can attempt to sneak past him or fight
him with a view to driving him off for long enough to get through the
Gates. See the guide to Kerberos’s tactics in Chapter Three.
Once the group has bypassed Kerberos, they reach the mass of souls
standing before the Judges of the Underworld. Three great beings with
regal robes and sceptres, the Judges examine all those who stand
before them and let them through the Gates, assigning them to a
realm of the dead. The only ways to get past are to be judged and
hope to trick them, persuade them to let the characters pass without
judgement, sneak through with another soul or steal the Keys to the
Underworld and get through before they are missed.
The characters can try to use their glorious histories to trick the Judges
into letting them through to Elysium as though they were Shades of
the heroic dead. This requires the expenditure of a point of Glory each.
Persuading the Judges without this expenditure requires a Difficulty +1

Insight (Diplomacy) or Cool (Manipulation) roll. If the characters play
to the fear of what Nyx might do in anger over her son’s
disappearance, they get a +1D on the skill check.
Sneaking past the Judges requires a Difficulty 1 Cool (Survival) roll to

approach the gates and then either a Difficulty 2 Cool (Survival) roll
54
to try and follow a soul through the Gates swiftly, or a Difficulty +2

Cunning (Athletics) roll to steal the Keys of the Underworld.
If they try to fight the Judges, they are dragged through the Gates of
the Underworld and straight to the House of Haides himself to await
judgement and gain 2 Hubris for their trouble.
They have the option to keep the Keys if they steal them (see the
section in Chapter Two on Items of the Underworld), but their presence
is quickly missed, and any time the characters use the Keys, they
attract some manner of antagonistic group (perhaps a group of
Shades seeking entrance to a different realm or some of Haides’ own
guards attempting to retrieve the Keys). Until the Keys are returned to
the Judges, no souls can pass through to the realms of the dead and
instead crowd by the Gates in ever-increasing numbers. If the
characters do not return the Keys at the end of the adventure, and
instead leave the Underworld with them, they immediately gain
Disfavour with Haides. This could provide a plotline for another
adventure, as the guardians of the Underworld seek them out and
Shades run rampant across the surface world.
5 / SLEEP NO MORE
B E YO N D T H E G AT E S
Once through the Gates, the Underworld proper is spread out before
them: five rivers winding across and encircling Haides’ dread realm.
One area is shrouded in mists with a dim white light spilling across it,
the Fields of Asphodel. Another is a bright sea lit by warm sunlight
that is jarring in this otherwise-sunless realm: Elysium. In the distance
the boiling river Pyrophlegethon flows through a place of fire and
sulphurous, belching volcanoes that must be the realm of the
tormented: Tartaros. At the heart of these three realms sits the House
of Haides itself, a collection of buildings the size of a small town with
a stream of Shades moving through the great doors to seek an
audience with the King of the Underworld and his beauteous queen.
Navigating the Underworld requires Cool (Survival) or Insight (Lore)

rolls, with failures leading to run-ins with entities of the Underworld or
ending up in one of the realms they do not intend to visit, such as
Tartaros or the Asphodel Meadows. They could also encounter Shades
who task the characters with the burden of their unfinished business, or
less aggressive Shades who are useful sources of information.
Some potential Underworld encounters:
◆ A weeping Shade sits on the bank beside the River Kokytos, her
tears joining the waters of the river of lamentation. She is
consumed with grief at first, but if the heroes make a Insight
(Diplomacy) roll, she speaks through her sobs to ask for a favour:
her sister lives on the surface world but never found the grave
where she was buried. She asks the heroes to guide her sister to
the grave so she may be mourned by the one who loved her most.
55
BOOK OF HEROES
◆ The heroes find a hero whose likeness they recognise from an old
statue in their polis. Her face and armour are distinctive on the
statue, and are clear in her Shade, but the name on the statue was
chiselled off, meaning that she can no longer remember it (as few
people remember her legend in the surface world). She says she
became lost on her way to Elysium and asks the heroes to seek out
whatever record they can of her story and restore her name to the
statue with ceremony in their polis so she can remember who she
was. This could be a way of introducing a patron hero of the polis
and perhaps establish a festival in her honour.
◆ A man runs through the Underworld looking like a hunted deer. He
is ragged and unkempt, clearly not in his right mind. He killed his
brother in a jealous rage and is now pursued by the Furies at the
behest of his grief-stricken mother. Somewhere along the way, he
ended up in the Underworld, thinking to hide from them here, but
they are always on his trail. He is a powerful king on the surface
world, having inherited from his brother, and offers the heroes
whatever lucrative trade deal or personal riches they wish if they
help him escape the Furies and direct him towards the way they
came in. The heroes can attempt to throw the Furies off his trail or
hand him over to the Kindly Ones for punishment.
OTHER REALMS
This adventure deals with Erebos, the House of Haides, the House of
Night and the lands between the rivers. However, if you wish to take
the adventure to Tartaros, the Fields of Asphodel or Elysium, you could
include a secondary objective to find the Shade of someone they knew
in the past to say a last goodbye or seek their counsel.
S E C U R I N G A N I N V I TAT I O N
To secure an invitation from an Underworld deity and give the journey
to the Underworld formal permission, the heroes could visit the temples
of the Underworld deities and perform a task in exchange for their
deity’s intercession. The problems with Hekate, Hypnos and Nyx might
be enough to persuade the priests of the gravity of the situation, but
they could ask a service of the heroes in exchange:
◆ The priests of Thanatos or the Funerary Cult ask the heroes

bring back poppies from the banks of the River Lethe.
◆ The priests of Haides believe that someone in the polis has been
disturbing graves and wishes to find out who the culprit is so
they may be punished appropriately for their disrespect. The
grave-robber was searching for a magical amulet owned by a
merchant from the city and buried with him. She does not know
which merchant had the amulet, so she has been going through
the graves one by one.
◆ The priests of Persephone are most concerned about a supposed
oracle of Persephone who has been speaking truths wild-eyed in
the city streets. They can trace the source of the person’s visions
back to a spoiled shipment of grain they stole from the city’s silo.
56
ON THE TRAIL
The most likely leads for the heroes to solve this mystery and bring
sleep back to the world are:
◆ Visit the House of Haides to get official sanction from Haides to

investigate and gather information on Hekate. This is a difficult
and dangerous option unless they have first secured an invitation
from one of the Underworld deities through their priesthood.
◆ Visit the House of Night to find out more from Nyx and from
Hypnos’s many siblings.
◆ Go straight to the Cave of Hypnos to find out what happened
there.
If the players seem indecisive about where to go next, you could use
Cool (Lore) rolls to lay out these options (for instance, the House of
Night and the Cave of Hypnos both lie beside the River Lethe, but
they would encounter the House of Night first). Alternatively, a
character such as Thanatos or another Underworld denizen could
5 / SLEEP NO MORE
advise them. No matter the order, the characters should be able to
gather enough clues to investigate the mystery and end up bringing
Hypnos back.
The important pieces of information for the characters to obtain:
◆ Hekate’s Hounds are running wild across the surface world and no-
one knows why. Hekate was raging at first, but then her anger
cooled and she exuded a sense of vindication.
◆ Hypnos put Hekate to sleep as a prank and her Hounds got free.
◆ In anger, she sought him out and poisoned him with aconite, one of
her favoured plants, knowing it would not kill him due to his
closeness to his brother Death, but her influence over the plants
would severely injure him.
◆ Hypnos is currently lying in a state of near-death in his Cave.
◆ The poppies around the mouth of the cave can heal him because
they are a form of his influence and counter Hekate’s, turning fitful
death back into restful slumber.
The characters can obtain information about Hekate’s Hounds, Hekate

and Hypnos’ cave from Shades or Underworld entities. To learn the
truth of Hekate’s actions and the reasons behind them, they must
either speak with Hekate herself, get Nyx or Haides to command the
truth from her, or find someone (perhaps a Shade, Eris or an Oneiroi)
who observed some part of the story.
Learning Hypnos’ location and the solution to his current state can
come from appropriate * (Lore) and * (Medicine) rolls, from Hekate
herself, from talking to Underworld entities like Thanatos once they are
armed with the information of what happened, or simply from
travelling to the cave and understanding what they find there.
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THE HOUSE OF HAIDES
In the centre of the Underworld lies the House of Haides, an estate with
many chambers beyond the bridge crossing the river Lethe, across which
souls crowd in the hope of an audience with the Dread King and his
Queen. It has huge bronze gates and the guards of Haides stand rank
and file along the walls and hallways inside, ready to enforce their lord’s
will without hesitation. Inside, the House of Haides is filled with Shades
massing in the atrium before the audience chamber and beyond that,
Haides and Persephone sit upon their thrones surveying their domain.
To approach the thrones themselves, the characters must either

persuade or jostle their way forward. If they cause too much of a fuss,
the guards escort them out of the palace forcefully and any entry
beyond stealth is barred. To persuade the Shades to let them past, the
characters must make Might or Cool (Diplomacy) rolls. To physically
barge past, they must make Might or Reflexes (Athletics) skill checks
and to slip past stealthily, they must make Cunning (Survival) skill
checks. Different characters can take different approaches, but any
character who wishes to speak with Haides and Persephone must
succeed on a roll to get close.
To persuade Haides that he should assist them in investigating the

disappearance of Hypnos, the characters must make a Cool
(Diplomacy) roll at Difficulty 1. If any character is already Favoured by
Haides or Persephone, they gain +1D and the Difficulty is 0. If they are
Disfavoured by Haides, Persephone, Demeter or any Underworld
entity, the Difficulty is 2. The characters may attempt to enlist
Persephone’s help: she is more easily moved by emotive pleas or
dazzled by performance, so a hero could tell a tragic tale, speak
emotively of poor Nyx’s distress at the loss of her son, or play music to
warm her heart. This involves a Cool (Diplomacy) or Insight
(Performance) roll, and if successful, Persephone not only reduces the
Difficulty of the skill check to ask Haides for help to 0, but also
conveys +1D to all attempts to persuade him, as she leans across and
speaks softly in his ear.
If this roll is successful, Haides grants the characters a guiding Shade

from his House to lead them through the Underworld. He forbids them
from taking any soul from his domain but as long as they don’t do
anything to earn his Disfavour, at the end of the adventure, they gain
his Favour. The characters can also begin negotiations to open up a
trade route between the Underworld and their polis of precious
minerals, gems and metals.
If the characters attempt to gather information from the Shades, they

can make * (Diplomacy) or * (Manipulation) rolls to learn from gossipy
spirits that Hekate has been raging at the loss of her hunting hounds,
which have been apparently running wild across the surface world.
While none of the Shades would dare approach the witch goddess,
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they would not wish to be on the receiving end of her rage as she has
domain over many dangerous poisons that could harm even the gods.
They also learn that Nyx has been most distressed at the
disappearance of Hypnos: he is somewhat of a prankster and
whenever he gets in trouble, he always returns to the House of Night
to hide behind his mother’s skirts. The fact that he has not been seen
for some time is most concerning, as it means he was not free to return
to Nyx for protection.
THE HOUSE OF NIGHT
The lands around the House of Nyx are still and quiet, the deep silence
of shadow and the darkest hours of night. Even from outside the heavy
doors that stand open, you can see that the house is in chaos. Nyx, a
statuesque woman with long dark hair trailing a billowing cloak of
starry night behind her, is tearing around the house looking for her son,
her face streaked with tears. Meanwhile, her other children are trying to
comfort her or avoid her. Hypnos’s sister Nemesis stalks back and forth
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around the house, her feathered wings quivering in anticipation of a
hunt for wrongdoers, as she mutters dark intimations of what she will do
against anyone who has upset her mother so. Eris, the black-winged
goddess of Strife, instead follows her mother, further exacerbating Nyx’s
distress as she feeds on the discord caused by Hypnos’ disappearance.
The family members have both information and their own agendas:
◆ Nemesis is filled with righteous fury against whoever caused her

mother’s distress, but she cannot see the truth of who kidnapped or
harmed her brother. Only a powerful deity could cloud her vision:
Hekate, Nyx herself, Haides or Hermes. She adds that Hekate
recently had the feeling of one who has exacted vengeance for a
wrong.
◆ Eris merely chuckles to herself if anyone tries to convince her to
help. She says with a sly smile that she knows more than most, but
why should she help resolve this when the strife caused by it is so
delightful? Her brothers bring peace and concord—Hypnos’s
disappearance is a unique opportunity for discord to reign.
◆ Nyx is distracted and hard to talk to, but if the characters offer to
help her with the search for her son, she listens to them. She does
not personally know anything of the disappearance, but tells them
of his cave by the River Lethe. She and Thanatos checked there
but did not see Hypnos anywhere.
If the characters attempt to convince Eris to tell them what she knows,
they must make a Cunning (Manipulation) roll at Difficulty 1. If they
enlist Thanatos or Nemesis to convince Eris, they gain +1D on the roll.
Trying to convince Nyx of Eris’s deception requires a skill check at

Difficulty 1, as she does not believe it of her daughter, but if the roll is
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BOOK OF HEROES
successful, Eris relents in the face of her mother’s anger and tells the
truth.
Eris is aware that Hypnos sent Hekate to sleep in order to set her
Hounds free, and Hekate was deliciously angry when she found out.
She doesn’t know what Hekate did in response, or where Hypnos is, but
the Witch Goddess is likely responsible for Hypnos’ disappearance.
If the characters reveal their suspicions about Hekate to Nyx, her

anger is immediate and frightening. Darkness creeps around the edges
of the room and everyone present feels the deep terror of an endless
night with no hope of sunrise. Nyx summons Hekate with a voice that
makes the very foundations of the Underworld shake and Hekate
appears, a three-faced being for a moment before she solidifies into
one. Nyx extracts the story of Hypnos’ prank from Hekate and gets her
to admit that she poisoned Hypnos with aconite. Hekate clearly fears
Nyx’s anger, despite her own significant power, but if the characters
intervene to try and persuade Nyx to be merciful, Hekate offers them
a chance to gain her favour by helping her round up her Hounds
(perhaps as their next adventure).
HEALING HYPNOS
When the characters have learned the truth of what is happening (or
have decided to visit Hypnos’ cave first as the most likely source of
investigation), they follow the River Lethe until they reach a place
where cypress trees overlook an island.
The Cave of Hypnos lies upon an island in the middle of the River
Lethe. Its black waters lap around the shores of the island and before
the cave mouth is spread a field of ghostly poppies with soft white and
grey petals, along with other flowers that give off a haze of pollen. The
cave mouth is deep with shadows that no light penetrates, and there is
no other way in but by that one entrance. Nothing stirs around the cave:
even the river of forgetfulness slows to a lazy crawl as it passes by the
cave of Hypnos.
Crossing the river is challenging: if any character touches the waters,

they lose a memory linked to who they are on a fundamental level.
Even if someone else reminds them of that moment, it is as though it
happened to a stranger. While there is no convenient ferry here, they
could improvise a vessel or scour the banks for a damaged old boat
washed up on the shore from a long-forgotten traveller to the
Underworld. Since there are cypress trees lining the banks, they can
knock over one of these using Might (Survival), craft a makeshift
bridge with Cunning (Craft) or attach a rope between two and try to
traverse the river with Cool (Athletics). If a character falls into the
water or is in contact with it for a significant amount of time, they lose
all sense of who they once were and their mind is a blank. They still
have their skills and abilities (though some may become unavailable at
the GM’s discretion). Since this is quite an alarming thing to happen to
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characters, make sure to give them the chance to reclaim their lost
memories at Mnemosyne, the Pool of Memory, before they leave the
Underworld, which is down the river from Hypnos’s cave.
Once the characters have crossed the river, they must pass through the
field around the entrance to the cave, which gives off a heady haze of
somnolent pollen. The characters must make skill checks such as Cool
(Vigour) or Cool (Survival) to get through without breathing too much
of the pollen. Any character who fails finds themselves slowly dragged
into slumber in the middle of the field, lying down among the flowers
and falling into a deep dreamless sleep. If all the characters fall asleep
in this way, you may need to have an NPC intervene: perhaps
Thanatos comes to the island looking for his brother, Hermes has been
watching their progress with interest and chooses to lend a hand or a
god one of the characters is Favoured by gives them a vision that
imbues them with the strength to drag the others out.
Any character who fell asleep in the field suffers from a -1D penalty to
any rolls relating to reactions or intelligence until they leave the
Underworld. They can suppress this for a scene by using stimulant
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herbs.
The characters reach the mouth of the cave and make Cool
(Awareness) rolls to spot the shimmers in the air of small, fast beings
gambolling about. With Insight (Lore) rolls, the characters learn that
these are the Oneroi, the personification of dreams. The Oneroi attack
the characters playfully, intending not to kill them but to submerge
them in dreams because they’re bored.
An Insight (Lore) roll reveals that they are simply playing, and to
placate them, the characters could distract them with dreamed
inventions and fancies. Here beside the Cave of Hypnos, they can
summon phantasmal dream objects, though not nearly as detailed or
physically present as those created by the Oneroi. The characters can
make Cool (Diplomacy) or Cunning (Performance) rolls to create
diverting scenes and objects that are interesting enough to persuade
the Oneroi to let them pass. Alternatively, they can fight the Oneroi
until the dreams get bored and flit off towards the Land of Dreams.
Inside the Cave of Hypnos, they find an ebony bed and can make
Insight (Awareness) rolls to notice the following details:
◆ The bed holds an impression of a person as though someone was

sleeping in it invisibly (this is indeed the case, and if they
physically interact with the outline, Hekate’s spell of invisibility fails
and they see Hypnos lying unconscious).
◆ The shattered remains of a glass bottle lies on the floor beside the
bed, with traces of a liquid inside that has no scent but causes the
skin of anyone who touches it to tingle and go numb. A character
with the Apothekary talent can identify this as a poison derived
from the aconite plant, and anyone else can realise that it is some
form of plant-based poison with an Insight (Medicine) roll.
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When they pierce the illusion, they see the God of Sleep unconscious
on his ebony bed. His skin is clammy and his eyelids flicker, clearly not
the peaceful sleep of a well being. If they fail to notice the impression
on the bed, after a while of looking around the cave, they notice a
shimmer in the air over the bed where the spell is concealing Hypnos
and can dispel it by interacting with it or looking at it closely.
An Insight (Medicine) roll (with +2D if they have already identified the
poison) means they can diagnose this as poisoning by the aconite
plant, which is used in small quantities as medicine but in larger
quantities is quite lethal. Due to Hypnos’ godlike nature and closeness
to his brother Thanatos, he has not died from this poisoning but
instead remains caught on the threshold between life and death. A
Cunning (Lore) roll suggests that a concoction from the poppies
around the entrance of the cave would send him into a restorative
sleep, after which he would recover. The characters may need to make
another skill check to gather poppies from the field without falling
prey to their somnolent miasma, and then a character must make a
Cool (Medicine) roll to make a potion from the Poppies of Hypnos and
feed it to the god.
When the characters do so, Hypnos’s breathing evens out and he curls
up into a gentle sleep, ready to travel across the world on the next
night.
V O YA G E A N D R E T U R N
The characters can return to the House of Haides or the House of

Night to claim Favour from Nyx, Haides or another Underworld entity
and are granted passage out of the Underworld. If they wish to make
their way out of the Underworld without notice (for instance, if they
have stolen something or wish to remove a soul from the Underworld in
defiance of Haides’ laws), they must make a Cunning (Survival) roll in
each realm of the Underworld they pass through. If more than half of
the group fails at any point, they are beset by the minions of Haides,
the Shades of the dead or other Underworld beings and Haides
becomes aware of their defiance, giving them Disfavour with him.
When the characters reach the surface world, they return to their polis
and the next sunset, a beautiful starry night passes across the land.
Every person and animal falls into a deep and restorative slumber
filled with chaotic dreams as the Oneroi scramble to make the most of
the resumption of Hypnos’ duties. The characters gain 2 Glory for
resolving the situation with Hypnos and for travelling into the
Underworld and returning. They may also gain the Favour of an
Underworld entity, and it may have a positive impact on their polis’s
relationship with the Underworld. As a general rule, they should come
out of this with at least one positive trade relationship, whether that is
with the polis who sent a messenger for help or the House of Haides.
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CHAPTER 6
MYTHIC QUESTS
BOOK OF HEROES
Each of these adventures presents a mythic quest. The heroes are sent
away from their home polis to a dangerous location, required to
achieve an “impossible” task for a quest giver. In each case,
supernatural entities are involved—the gods and magical people of
Hellas—and the heroes are often required to navigate unknown
dangers in pursuit of their goal.
PA L A C E O F L E AV E S
Unravel the mystery of the curse preventing a young polis from

building a palace; serve as intermediaries between the polis and the
people of the wild places. Features Demeter, Pan, and Hekate.
THE GOLDEN SHIRT
Weave a shirt from the wool of dangerous carnivorous sheep

descended from the Golden Ram itself. Features Hermes and Zeus.
THE PELIONION
Attend the first centaur games on Mount Pelion; be drawn into the
politics of the centaur tribes. Features Apollo, Artemis, and Dionysos.
T H E D O O M O F K AT H A RO N I S I
Deal with a titanic crab besieging the island kingdom of Katharonisi;

discover the reason behind its destructive presence. Features Hera,
Hestia, Poseidon, Athena, and Zeus.
ARMOURY OF THE GODS
Travel to a forbidden wasteland to capture an undefeatable foe;

heroes are caught up in the complex relationships of three gods:
Hephaestos, Aphrodite, and Ares.
C A M PA I G N F R A M E
Taken together, these five adventures are intended to form a loose arc.
The heroes begin with Palace of Leaves, exploring a mystery and
(hopefully) resolving a dispute between mortals and supernatural
beings. The adventures culminate in Armoury of the Gods with an epic-
scale expedition to a desolate wasteland in order to capture a foe that
is nigh invincible.
This campaign frame is inspired by the myth of the twelve labours of

Herakles. The heroes (PCs) are set a series of tasks of increasing
difficulty by a quest giver, and given little choice but to try and
achieve these goals. The quest giver in this scenario is arguably the
most important NPC in the campaign, and inevitably shapes the
heroes’ relationship with it.
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GODS AND MONSTERS
In the myths, Herakles is bound to perform tasks for King Eurystheus,

as penance set by the Oracle of Delphi. This presents one possible
starting point for a campaign—the heroes have all been involved in
some grievous crime and are condemned to perform tasks as part of
their atonement. It need not be the heroes themselves; being required
to engage in dangerous quests to pay a debt incurred by their family
or polis would also work. Consequences for failure might be
personal—marks of punishment for the furies or fates for example—or
public—curses or other troubles for their polis. In between adventures
the heroes deal with the repercussions of their crime, perhaps slowly
overcoming the disdain of their polis in the process.
Another alternative is that the quest giver is the arkhon of the heroes’
polis, and the characters are forced into service due to family
commitments or ambition. Any of the arkhons suggested in the
AEGEAN corebook could serve as quest giver, with compliance being
enforced through the use of hostages, or the threat of exile.
Consequences for failure fall on the heroes’ families, or on the polis
itself, as the tyrant punishes them or rages about being denied their
prize. In between adventures, the heroes deal with the severe
6 / MYTHIC QUESTS
punishments meted out by a tyrannical arkhon, and the impact on
their families, perhaps while plotting rebellion.
It is also possible to involve the Oracle of Delphi and create a

situation where the quest giver is a representative of the gods. A series
of “prophecies” might speak of terrible consequences if the arbitrary
tasks are not undertaken. Perhaps one has already been ignored, and
the polis is suffering as a consequence. The heroes are chosen to try
and fulfil the next prophetic demand to avert similar disasters. This
casts the heroes as champions of their polis, in opposition to the
increasingly suspicious demands of a so-called oracle. Consequences
for failure involve severe misfortune befalling the polis. In between
adventures, they can explore the nature of the oracle, perhaps
discovering that they are not what they appear to be, or that they
actually serve a malign god such as Eris.
Finally, the heroes might be set on their path by a supernatural force,

either knowingly or through trickery. The campaign might open with a
scene where the heroes are recovering from a celebration, only to
discover they have sworn to do “whatever it takes to achieve glory” or
“to become a greater hero than Herakles” and now a god such as
Zeus, Dionysos, or the fates themselves plan to hold them to that oath
whether they like it or not. Consequences for failure include the patron
god becoming dissatisfied, perhaps inflicting punishments on the
heroes or those close to them. In between adventures, the heroes
engage with their polis or go on personal quests while waiting for their
godly patron to provide them with their next task.
Other frames may suggest themselves of course. The key elements are
that the heroes have to undertake the quest given to them; that there
are personal consequences for failure; and that people across Hellas
become aware that they are serving someone else in pursuit of
impossible tasks.
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BOOK OF HEROES
Using this kind of campaign frame requires some discussion during

Session Zero. The players need to make characters that work within
the frame, and they need to buy into the premise of the campaign. For
example, the nature of the terrible crime they have committed needs
to be fleshed out, and everyone needs to make a character who had
been involved in the offence and now feels the need for atonement.
Likewise, it’s important that everyone buys into the idea that they have
less freedom than they might be used to. The aim of the campaign is
to undertake—and hopefully achieve—difficult tasks for a quest giver.
While they may plot against the corrupt arkhon, for example, the focus
is on undertaking mythic quests not on fomenting rebellion (at least
not at first).
S TA N DA LO N E TA S K S
As an alternative to a Herculean campaign frame, any of these

adventures could be used as a standalone quest. An obvious use would
be as a “side quest” on the road toward achieving a larger heroic
ambition. For example, the heroes might want to improve diplomatic
relations with another polis, and discover the situation at the start of
Palace of Leaves. If they can solve the mystery, they can win the
favour of the polis in question. Likewise, a diplomat might ask the
heroes to intervene in The Pelionion due to fears that open war
between centaurs and Heraklides might lead to doom for the Athenian
polis. The general format still applies; a quest giver asks the heroes to
complete a task and there are consequences for failure.
Another way they might be used as standalone tasks is as part of an

atonement quest set by a god. Each of the adventures has a
connection to one or more gods, who have a vested interest in the
outcome of the situation they present. A hero who wishes to remove the
disfavour of Poseidon, for example, might be tasked to deal with The
Doom of Katharonisi while making it clear the god himself is in no way
involved.
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GAME PRINCIPLES AND MYTHIC QUESTS
Each of the adventures is presented as a mythic quest—the heroes

leave familiar places and have to trek to a distant place where they
interact with supernatural forces. The GM should keep the game
principles in mind—this is still a campaign of AEGEAN after all.
1. HEROIC ADVENTURE
Mythic quests are the epitome of heroic adventure. The characters

face dangerous magical challenges, and aim to overcome them. During
character creation, the GM should stress that the players are creating
heroes—slightly larger-than-life characters who ultimately will stand
alongside Herakles, Iason, and the rest. Divine Heritage is particularly
appropriate for characters in this kind of campaign, although it can
also be fun to play an entirely mortal character (similar to Iolaos,
nephew of Herakles) whose more grounded nature contrasts with that
of their more “heroic” companions.
6 / MYTHIC QUESTS
2. DON’T BE AFRAID TO ASK QUESTIONS
One effective way to tie disparate, episodic adventures together more

tightly is to make them personal. Ask a player at the start of each
adventure why the outcome is important to them specifically; use their
answer to flavour their initial interactions with the scenario. Starting
Palace of Leaves by saying “One of you has a personal connection to
the polis of Teuthia—who, and why, and why might they not be entirely
pleased to see you?”—can immediately get the players asking questions
about Teuthia and helping to make the location and the situation more
real.
3 . FA M I L I A R FAC E S
Each of these adventures involves the heroes travelling to distant

locations. As with any other AEGEAN campaign, the use of familiar
faces helps build connections between the heroes and the world.
Several adventures suggest ways to use recurring NPCs—for example
Athanaseus of Beotia first appears in Palace of Leaves but could
reappear as an ongoing antagonist in any of the following adventures.
Another good way to introduce familiar faces is when the heroes have
to travel—a recurring ship captain for example, perhaps with a couple
of named characters among their crew, who helps ferry them from
place to place can provide continuity between adventures. It can also
set up a potentially tragic scene in Armoury of the Gods if the ship is
ultimately wrecked on the shores of Lemnos and the familiar
characters killed.
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BOOK OF HEROES
4. USE THE GODS
More so than in other AEGEAN campaigns, the gods are active

participants in mythic quests. In the labours of Herakles, Hera
regularly intervenes to make things more complicated. Even when they
don’t appear in person, the gods regularly send representatives to
interfere with the heroes. The starting point for involving the gods is
the heroes themselves; even if a hero doesn’t have a divine origin the
AC: Favour and player can use Favour and Disfavour to indicate that they have an
Disfavour, 167 interest in a specific god. Whenever that god might have even a
passing interest in a quest—even if they aren’t directly involved—they
may still offer advice (good or bad) or set a hero an additional
personal task. For example in The Pelionion, Dionysos might prompt a
hero they are interested in to assist the Dionysoi in sabotaging the
games. A good example of how gods might offer assistance, or
complicate matters, can be found in the Cretan Chronicles adventure
books by John Butterfield, David Honigmann and Philip Parker.
5. PRIDE AND HUBRIS
During these adventures, the heroes are often set against one or more
of the gods. Hubris is unavoidable—and one of the interesting tensions
within a mythic quest may be that the heroes themselves don’t
particularly want to oppose a god but the nature of their task makes it
inevitable. Ideally, the heroes feel that they are being used as playing
pieces by the gods—but not at the expense of their own self-
determination. Hubris can feel arbitrary—one way to address this
might be for the GM to occasionally frame short narrative “cut away”
scenes in which the gods discuss the actions of the heroes and why
they have earned themselves hubris. The Olympos scenes in Jason and
the Argonauts or Clash of the Titans are great inspiration here.
6 . U S E T H E FAT E S
An important discussion during Session Zero revolves around the

character’s fate. If the GM is planning to use these adventures as part
of a campaign frame, they can help guide players to pick fates that
will be relevant to the adventures to come. “Winning a laurel at the
Olympic Games” for example might be an interesting fate for a
character who will take part in The Pelionion. A character who wants to
“trick those of higher station” might, at the end of Armoury of the
Gods, get the opportunity to manipulate the quest giver into
destroying themselves with the golden lion.
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GODS AND MONSTERS
7. USE THE CITY
Heroes may not spend a lot of time in the city but, depending on the
quest giver, it may be the “reason” they are doing these mythic quests.
Between adventures, the heroes should return to their home polis, to
reap the rewards of victory or see the consequences of failure play out
around them. Several of the adventures—Palace of Leaves and The
Doom of Katharonisi in particular—present opportunities to create ties
between the home polis and other cities. Likewise The Pelionion creates
the opportunity to gain or lose the favour of powerful cities and shape
the political fortunes of northern Hellas.
8 . I T ’ S O K AY T O FA I L S O M E T I M E S
Failure has consequences but they don’t need to end the campaign.
Herakles himself technically “fails” two of his labours, leading to
Eurystheus adding two extra ones. The key is to ensure there are
consequences for failure that are not game-ending. Misfortune for the
polis, the loss of NPC allies, Hubris, a bad reputation, and losing
6 / MYTHIC QUESTS
Favour or gaining Disfavour can all reinforce the loss without
preventing the heroes from preparing for their next quest. The
challenge is to make the heroes feel despondent while leaving the
players enthusiastic about their next quest.
SIDE QUESTS
One final note relates to the value of side quests. The labours of
Herakles are full of side-quests. The Pelionion adventure, for example,
is inspired by one of these side quests—when Herakles stops off at
Mount Pelion during the hunt for the Erymanthian Boar. As the heroes
travel around Hellas, there should be plenty of opportunities for
digressions, and chances to take a break from the goal-oriented
adventures of the mythic quest arc.
For example, when the heroes are travelling to their destination, the
GM might introduce Captain Ilius and the crew of the Antiope, from
the Poseidon’s Children adventure in AEGEAN ADVENTURES. Heroes
who need the assistance of a master weaver to create the khiton in
The Golden Shirt might find themselves caught up in the events of The
Leaden Tablet, needing to resolve a delicate family matter before they
can have their magical cloth woven, or be drawn into the events of The
Harp of Discord while travelling to Teuthia or Mount Pelion.
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CHAPTER 7
P A L A C E O F L E AV E S
GODS AND MONSTERS
Resolve the mystery of the cursed palace at Synoriakis, decreed by

Arkhon Dioskouros of Teuthia.
BAC KG RO U N D
The Arkhon Dioskouros of Teuthia has been trying to build a palace

for the last six months. Every night, that day’s building work is undone
and must begin again. Consequently, no progress is being made on the
construction. Nobody can explain what is going on; sacrifices to the
gods have had no effect, and while a delegation has been sent to
consult the Oracle of Apollo at Delphi, there is no way to tell how long
it will be before they receive an answer. Several heroes—rumoured to
include one of the Heraklides—have tried to get to the bottom of the
problem, but have been forced to admit defeat.
The reason the palace cannot be completed is the forest nearby is

inhabited by a band of satyrs and fauns, lead by a daughter of Pan
7 / P A L A C E O F L E AV E S
named Hedymelia. They have been forced back time and again as the
people of Teuthia have cut down trees, built farms, and criss-crossed
the wilderness with roads. Worse, the site chosen for the palace was
once a glade where the god would come to celebrate with the nymphs,
fauns, and satyrs of southern Arkadia. Now it is a building site.
Faced with these twin indignities, they have had enough. Now they are
finally fighting back, albeit with as little violence as possible. Every
night, Hedymelia uses her miraculous pipes and musical ability to draw
a veil of somnolence over the building site. Then, she and her followers
lead the sleepwalking workers in undoing the work they completed the
previous day and then celebrating and partying until the small hours
of the morning before returning to their beds. Due to the enchantment,
the folk of Synoriakis are unaware of their nocturnal activities but are
so tired the next day that the amount of work they can do is limited.
Insight (Knowledge) indicates that Teuthia is a new polis, founded

barely thirty years ago. Its position in southern Arkadia puts it on the
frontier between central Peloponessos and the ambitious, land-hungry
Sparta. Gossip suggests that the problems with building the new
palace might be down to the warlike Spartans—although the magical
nature seems at odds with what people expect from King Tyndareus.
THE GODS
Demeter: The goddess of agriculture, law, and the harvest is conflicted

about the palace at Synoriakis. On the one hand, it will lead to more
wilderness being cleared and replaced with farms; she is in favour of
civilising the wilderness. On the other hand, it will inevitably lead to
war with Sparta, bring chaos and death to Teuthia and perhaps
Arkadia as a whole. Even though she wants to see the palace
completed, Hekate has persuaded her to remain aloof from the
struggle. After all, if the mortals cannot resolve the situation
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themselves, do they really deserve her favour? A hero tied to Demeter

may receive a clipped instruction to “sort it out, one way or another”
and then be left to their own devices.
Hekate: The goddess of crossroads and liminal spaces has taken an

interest in the palace at Synoriakis. It represents a fascinating frontier
between civilisation and the wilderness. It is she who has persuaded
her friend Demeter and the wild god Pan to stay out of the situation
and let the mortals solve the problem there themselves. If they are
successful, then it will prove that the drive to conquer and civilise
Arkadia should go ahead. If they fail, it is clear they are not ready to
push into the wild places and should remain on the borderlands. A
hero tied to Hekate may be admonished cryptically to “work out the
best thing to do, and make sure it is done”.
Pan: The god of music and the wilds has heard the prayers of the
forest folk and answered. Hekate has persuaded him to leave it to the
mortals to sort it out as much as possible—but he has sent his daughter
Hedymelia to prevent the palace of Synoriakis from being completed.
He won’t interfere directly unless his friends and children are attacked,
in which case all bets are off. A hero connected to Pan may be urged
to “put a stop to this invasion” without going into any further specifics.
VISITING TEUTHIA
The polis of Teuthia lies in southern Arkadia and was founded barely a
generation ago by settlers from Messenia. For all its relative youth, it is
already a bustling city. Surrounded by a ring of rich farmland, it trades
olives and grain to its Arkadian neighbours, supplemented by fine
wood cut from the wild forests. There is a large shrine of Demeter here,
which verges on becoming a full temple, and on market days the
agora is packed with farmers and woodcutters eager to sell their
wares.
While fairly wealthy, it still has an air of being on the frontier—many

of the buildings are new, with much more wood in their construction
than stone. If needed, use the profile for a Small Polis, but remove the
docks and replace them with a lumberyard, grain store and farm.
MEETING THE ARKHON
Securing an audience with Arkhon Dioskouros and his councillors needs

a Cool(Diplomacy or Manipulation) roll depending on how the heroes
present themselves. If the roll fails, or the heroes mishandle the
situation, then representatives of either Lydia Oikodomos or
Parakion Skentiri—or both—approach them.
Such a meeting will be quite formal in nature. Arkhon Dioskouros

(ambitious, planner, patron of the arts; he/him) is a capable diplomat
who wants to build closer ties with his Arkadian neighbours, some of
whom still hold him and his people at arms’ length given they have
only recently come to the region. He is keen to meet anyone who thinks
they can solve the problem in Synoriakis; he may talk about how the
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GODS AND MONSTERS
tale of the palace has become “a joke told across all Hellas” which
clearly preys on his mind.
He is also worried that continued work on the cursed palace is draining

the coffers of Teuthia; while the polis is wealthy, their treasury is not
bottomless. Endless wages, and the constant need for more raw
materials, will eventually cause funds to run dry. Worse, there have
been incidents where entire caravans of stone and wood have
mysteriously gone missing on the road between Teuthia and the
building site at Synoriakis.
Most of all, Dioskouros is painfully aware that the young polis is in

danger of becoming a laughing-stock, looking weak, or worst of all,
looking as if it is cursed by the gods.
While Dioskouros does most of the talking, Insight (Diplomacy)

gathers that there is some tension between the Arkhon and his
councillors, especially Lydia Oikodomos and Parakion Skentiri. Insight
(Manipulation) suggests that the Arkhon blames the Oikodomos for
the current embarrassing situation, and is worried about or suspicious
of the Skentiri. Both councillors are interested in the heroes, and if they
have not already, they may want to speak to them before they leave
the city.
Assuming the heroes are polite and respectful, they should be able to
secure the blessing of the Arkhon to travel to Synoriakis and
investigate. He will provide them with a scroll indicating they travel
with the approval of the polis. Later on in the adventure, they may be
able to leverage the letter as providing them permission to negotiate
with the forest folk on behalf of the polis. Convincing the arkhon and
his councillors that they have the right to do so however will require a
challenging Insight (Diplomacy) or Cool (Knowledge) roll.
THE OIKODOMOS
Chief among the Arkhon’s councillors is Lydia Oikodomos

(calculating, subtle, ambitious; she/her), matriarch of a wealthy
mercantile family. She’s a clever politician, and makes no secret of her
ambition to eventually replace Dioskouros but knows that her family
reputation is tied to the success of the palace at Synoriakis, as they
pushed for its construction. Her middle daughter, Nestoria, is
responsible for overseeing the construction of the Palace at Synoriakis,
and Lydia worries about the damage to her reputation caused by the
failure of the palace. She expresses the opinion that King Tyndareus of
Sparta has somehow become aware of the plan, and may be behind
the problems being experienced in Synoriakis.
A hard Insight (Diplomacy) roll indicates that Lydia is not telling the
whole story—there is more going on here than the construction of a
simple palace in the woods. If she is pressed on this, a daunting
Cunning (Manipulation or Diplomacy) convinces her to allude to the
real reason the Oikodomos pushed for this project—the palace
incorporates an armoury and a fortified wall, and is positioned in a
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BOOK OF HEROES
strategically advantageous location that will prove vital when the

Spartans eventually invade. If she trusts the heroes, she may even
make reference to a larger plan to secure ties with other Arkadian
poleis worried about the Spartans.
If mentioned, Lydia warns the heroes against the Skentiri, describing

them as a nest of vipers, and advising they keep well away from them.
THE SKENTIRI
Parakion Skentiri (pragmatic, loyal to his family, ambitious; he/him) is

patriarch of a large and rambunctious family, who rival the Oikodomos
in wealth and standing. Any visit to his home involves a large family
meal—a very friendly affair with plenty of good food and
wine—following which he makes a point of chatting politics with a
sleepy grandchild balanced in his lap.
Affecting a genial attitude, he is very up-front about the fact that he

intends one of his children to become arkhon in the not too distant
future. He warns the heroes not to trust the Oikodomos and paints
Councillor Lydia as a scorpion who will do whatever it takes to seize
the arkhon’s seat.
He is honest about the fact that while he opposes the palace at

Synoriakis in the council chamber, it will be good for Teuthia. The first
wave of prosperity will come from clearing the forest and selling the
wood, while later new farms can be established, further filling the city’s
coffers. He knows that some people—including Lydia
Oikodomos—suspect Spartan involvement, but Parakion finds that
laughable. In his opinion, if the Spartans were involved, they’d simply
send soldiers to enslave everyone and burn the place to the ground.
For his own part, he claims to be keeping an open mind. Insight

(Diplomacy) can convince him to share his concern that Teuthia has
somehow incurred the wrath of a god; he worries about what will
happen if they stop interfering at Synoriakis and turn their attention
on Teuthia itself. He advises anyone planning to head south to stop off
at the shrine of Demeter and make a sacrifice, asking for the goddess’
protection in the wild places through which they will soon walk.
He may also ask someone who seems amenable to take a letter to his
nephew Aphroditus—“a good lad, if easily distracted”—who is
responsible for protecting the people at Synoriakis. The letter is full of
family news and while heroes may believe it contains a hidden code, it
is exactly what it appears to be.
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GODS AND MONSTERS
BLESSING OF DEMETER
Demeter’s shrine is the largest in the polis, and is close to becoming a

fully-fledged temple. Built near the agora, it is popular and busy. In
addition to performing sacrifices and blessings, the priests are called
on for advice and assistance by people from all walks of life, and
several are adept at the healing arts.
Visiting heroes may speak to Priestess Helusa (ambitious, insightful,

astute; she/her), who oversees the shrine and leads the priests. She has
little patience for time-wasters or fools, but shares her worries about
the business in Synoriakis. The polis needs to expand; this means more
farms. Part of the purpose of building the palace is to serve as a
secure location from which to civilise the wild places to the south,
creating new homes and new opportunities. If it succeeds, it will
encourage the arkhon and his council to try similar projects elsewhere.
If it fails, it will not only make further expansion less likely, but it could
also be seen as a failure of the shrine, and perhaps even incur the
disfavour of the goddess. She is privately worried about the fact
Demeter has given no guidance as to the problem in the south, despite
entreaties from the priests of her shrine.
Helusa has no idea what is causing the problem, but believes it is likely
to be a god of the wilderness or perhaps a daemon. She expresses her
confidence in priestess Ellenia, who is in Synoriakis. Insight
(Diplomacy) indicates that this is not entirely true; if pressed on the
matter, she admits that Ellenia will be a fine supporter for the people
once the palace is complete, but that she lacks the practicality that
Demeter sometimes needs from her followers. In fact Helusa has called
in a more “pragmatic” priestess from the north who she is confident will
solve the problem “one way or another” and is expected to arrive in the
area imminently. If the heroes are open about going to Synoriakis, the
priests of Demeter may ask them to carry news of this northern
priestess to Ellenia on their behalf.
If the heroes make a sacrifice to Demeter at the shrine in Teuthia, and

attempt an augury, they may receive a sign from the goddess. The
signs are vague, but hint that while the palace at Synoriakis is
important, its completion represents both weal (prosperity for the
people of Teuthia) and woe (a provocation to the warlike Spartans).
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AT T H E AG O R A
Rumours abound as to what exactly is going on at Synoriakis. Insight

(Awareness or Knowledge) reveals some of the following (one piece
per success would be reasonable).
◆ Two caravans of building supplies have gone missing. The wagons

and animals—but not the people—vanished without a trace
somewhere between Teuthia and Synoriakis. Nobody has a clue
what happened; they made camp as normal at night and the next
morning the animals were gone, with the guards having seen
nothing untoward.
◆ The building site may be cursed, but at least for the time being it’s
providing lucrative opportunities. The labourers and artisans get
paid even if the work isn’t going anywhere. Foreman Netenis sees
to that.
◆ While the coffers of the polis are being drained, those of the
merchants who provide the stone and wood needed for the
construction work are growing wealthier. It’s no wonder none of
them want the situation resolved any time soon!
◆ It’s odd that the palace is being built so far from the polis—a day
and a half away by ox cart. It seems like it’s really about extending
the power of Arkhon Dioskouros as much as anything else, and one
has to ask what the Spartans are making of this palace so close to
their own borders. It feels like a provocation!
◆ One odd thing—the rumour is that whatever is going on at
Synoriakis they are getting through their supplies a lot faster than
they ought to be. It seems not a week goes by without another
caravan taking bread, meat, and wine down. They must be living
like kings!
◆ A few heroes have tried to gain glory for themselves by solving the
riddle of Synoriakis but nobody has succeeded. They tend to give
up after a week or two. I hear that we even had one of the children
of Herakles—Manto—but they lasted only five days saying the
problem was “insoluble.” I saw them when they came back through
the polis, and they looked exhausted!
O N WA R D T O S Y N O R I A K I S
When the heroes are ready to leave Teuthia, they may either head out
alone or hitch a ride with a caravan taking supplies. The road south is
still very rough, and marked along its entire length by wagon ruts.
Once the heroes are a few miles from Teuthia, the trees press in and
the wilderness closes in around them. It takes about a day and a half
to reach Synoriakis from the polis by ox cart, and about the same on
foot, but could be done in a day on horseback.
During the journey, the key element is to play up how creepy the
wilderness is, especially compared to the polis they have just left.
Anything could be lurking in the woods around them; once night falls,
it is pitch black except in the tiny circle around a campfire; finding
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GODS AND MONSTERS
enough food and water to survive is a gamble, and who knows what is
safe to eat or drink out here? Travelling with a caravan is safer, but
requires at least one night spent in the wilderness.
At any time, Insight (Survival or Awareness) gets the strong feeling of

being observed, but there’s no sign of anyone actually watching. At
best one might catch a glimpse of someone or something between two
trees that darts away as soon as it is spotted.
If the GM wants to introduce some excitement, the heroes may come

under attack from a forest animal—perhaps a couple of great cats
(use lion profile, a wild boar, or a pack of wolves. The creatures attack AC: Lion, 233
suddenly from stealth, and break off just as suddenly. An Insight AC: Boar, 228
(Survival) roll gives the strong impression that this is not normal AC: Wolf, 237
behaviour for the animal in question.
THE BUILDING SITE
There are four buildings being constructed at Synoriakis—the palace
itself is a great rectangular megaron; a shrine to Demeter; a palisade:
and an armoury (although this latter is not immediately obvious).
Despite the work having started nearly a year ago, no real progress
has been made. The ground has been cleared, but even as the heroes
arrive a work gang is having to cut back the undergrowth around the
edges of the camp, and there’s a bonfire burning near the stakes that
have been laid out to indicate the location of the palisade.
No buildings have been completed. Everyone—nearly a hundred

people—are living in tents, or under the open stars. Assuming the
heroes arrive during the day, construction work is underway but it
seems almost half-hearted and is not proceeding very quickly. The
following rolls can provide better first impressions to the heroes:
◆ Insight (Awareness) spots that many of the workers seem

tired—they move slowly and clumsily.
◆ Insight (Medicine) shows that some of them appear to be
hungover—dehydrated, irritable, nauseous.
◆ Insight (Diplomacy) suggests that some of them are on the verge
of quitting; only the urging of foreman Netenis and the promise of
their wages keeps them here.
◆ Cunning (Awareness) sees more than one group of labourers
pretending to work but stopping as soon as they think nobody is
watching them and just lazing in the sun.
The rest of the people at the camp are no better. Arguments break out
regularly, tempers get frayed easily. Guards, artisans, servants, and
workers alike sneak off to sleep when they should be working. Cooks
blame each other for wasting supplies. There are a pair of armed
guards watching over the large tent where the food and drink is stored
who eye anyone approaching suspiciously.
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Exploring the camp provides further clues if they are needed. Insight
(Craft) may spot that the design of the palace is surprising in that the
walls are very thick and there are few openings; almost as if it is
intended more for defence than majesty. Insight (Melee or Knowledge)
may spot that the building site occupies a valuable defensive position
on the side of the mountains, one that would give numerous
advantages to any force that had to defend it. Cunning (Awareness or
Craft) spots a number of items designed for outfitting an
armoury—anvils and metalworking tools still packed up and partially
overgrown but obviously intended for more than just making nails.
Insight (Knowledge) may put these clues together to realise that this
location would be a good place to build defences if one were worried
about an invasion from the south—from Sparta.
PEOPLE OF SYNORIAKIS
Everyone in the camp is under the influence of Hedymelia. In many

cases they have been exposed to her enchantment for months, and this
has exacerbated their worst character traits. Many exist in a kind of
waking daze—genuinely not thinking about the situation in the camp
unless it is brought to their attention. They often have no idea of how
long they have been here, or of the passage of days. It should be clear
after only a short period in the camp that there is something off about
them.
Both Nestoria and Aphroditus are aware that the real purpose of the
palace goes beyond bringing civilisation into the wilderness, or filling
the coffers of Teuthian merchants. The palace will be fortified, and
accompanied by an armoury and barracks that will allow soldiers to
garrison this strategically important position. When the Spartans
invade, it will be a key part of the Teuthian defence. Getting either of
them to speak of this requires someone to win their confidence (and in
Aphroditus’ case, getting them to pay attention and concentrate for a
moment).
Nestoria Oikodomos (harassed, frustrated, perfectionist; she/her) is

the architect and visionary responsible for planning the palace and the
hidden armoury. She promised the council that work would be
completed soon, and her deadline is rapidly approaching. She is well
aware that failure here will not only ruin her reputation—she will need
to quit the polis and move elsewhere in disgrace—but reflect badly on
AC: City Folk, 212 the entire Oikodomos family. Use the City Folk profile for Nestoria, but
she has a Craft skill of 4 with the specialisation: Architecture and
Standing 3.
Assuming the heroes are here with the blessing of the Arkhon, she will
do her best to cooperate and offer them her hospitality. If they have
come here directly, she is desperate enough to accept their offer of aid
but may suspect them of being complicit in anything that goes wrong.
The influence of Hedymelia has left her prone to giving in to her

frustrations—any new obstacle or perceived criticism causes her to
throw up her hands and storm off—and convinced her that unless
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GODS AND MONSTERS
something is done perfectly there is no point doing it at all. If the

heroes need prompting, Insight (Diplomacy) might suggest that these
are odd traits in someone chosen to lead such an important project.
She explains the situation brusquely; every night, whatever work they
have done the previous day is undone. There is no explanation, and
nobody sees anything out of the ordinary. Nobody seems to be able to
do their jobs properly, everyone is lazy and unreliable. Someone is
stealing supplies; no matter how you look at it, they are going through
food and drink at twice the rate they should be. The forest itself seems
to hate them; barely a week goes by without needing to clear the
undergrowth away from the building site.
Privately, she suspects the goddess Eris is somehow behind the

problems in Synoriakis, and believes Netenis is one of her agents (she
may enlist one or more of the heroes to spy on him to gather “proof”).
Aphroditus Skentiri (genial, easily distracted, romantic; he/him) is

technically in charge of the Hoplites responsible for protecting the
building site but spends his time writing poetry, wooing anyone
amenable to his advances, and letting tomorrow take care of itself. Use
the hoplitis captain profile, reducing Accuracy, Melee, and Vigour by 1 AC: Hoplitis
each and giving him Performance of 2 with the specialisation: Love Captain, 214
Poetry instead.
Hedymelia’s influence has exacerbated his naturally sanguine

personality. He always takes the path of least resistance and is likely
to go along with anyone with a confident manner. Even when
discussing the terrible situation at the camp, he can’t resist flirting. If
asked his opinion on what is going on, he actually shrugs and suggests
it is just one of those things before changing the subject. He seems
utterly disinterested in what is happening at the building site and
directs all queries to Nestoria.
If someone is patient enough to spend time talking to him and can

keep him on topic with Cool (Diplomacy), he comes out of his reverie
long enough to suggest that the only explanation is an
enchantment—the intervention of a god—and he is singularly ill-
equipped to deal with such a thing. Perhaps they should talk to
Priestess Ellenia?
Foreman Netenis (coarse, stubborn, common touch; he/him) is the de

facto leader of the labourers and crafts folk living at Synoriakis. He’s
mostly responsible for ensuring everyone continues to be paid, even
though the work is going nowhere. He’s very popular with the artisans.
Use the orator profile but lower Standing to 2. AC: Orator, 216
An older man with a squint and thinning hair, Netenis’ sole concern is
the well-being of the people who do the actual work. He is openly
contemptuous of Nestoria and especially Captain Aphroditus. He can
provide the same information as the architect, but frames everything
as being due to the incompetence of the architect and her team.
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Any hero that presents themselves as any kind of authority

immediately gets on his bad side. A hero that listens to his endless list
of complaints, or pitches in to help around the camp, may be able to
get on his good side and with Cunning (Manipulation) get him to
admit that he’s actually fairly worried. Someone is going to take the
blame for this disaster and he’s genuinely concerned it will be “his”
people rather than the Oikodomos or Skentiri.
Priestess Ellenia (worried, compassionate, gossip; she/her) is a

matronly priestess of Demeter who in theory at least is meant to be
looking after the shrine at Synoriakis—if it ever gets built. Use the
AC: Physician, 218 physician profile, but reduce Medicine to 3, and Lore to 1, and increase
Diplomacy and Awareness to 3.
Her presence here is meant to be a reward for years of service to the

goddess and the temple at Teuthia. It has not turned out as she
expected. She doubts the shrine will ever be built and expects to return
to Teuthia as a failure. Hedymelia’s music is causing her to doubt her
every decision, and is constantly anxious that she is not up to the
challenges ahead of her. If she learns that a northern priestess is on
the way, she is brought close to tears by the news, assuming it means
that her colleagues have lost all faith in her. She retires to her bed and
is uncommunicative for the next day or so, or until Anesidora arrives.
Ellenia worries about the people of the camp; she knows something is
wrong with them but not what. People are suffering stupid injuries all
the time and, while nobody has died, there have been a few near
misses. The worst was a few weeks ago when one of the labourers
nearly cut off their own leg while clearing undergrowth.
Ellenia is also the only person in the camp who remembers the
disappearance of a worker named Belleron. Winning her confidence
enough to get her to talk about him requires a successful Cool
(Diplomacy) roll as she has begun to doubt her own memory. She
describes him as a jolly sort, handsome in a rough kind of way, always
ready with a laugh and a joke, and maybe a little prone to lazing
around instead of working. Insight (Diplomacy) shows she was
enamoured of the man but she will become flustered if confronted with
this fact. He vanished overnight two months ago and while Captain
Aphroditus led a group of soldiers to look for him, they found nothing.
Within a day or so, nobody remembered he had ever been there and
looked at her strangely whenever she tried to talk about him.
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FORESTS OF THE NIGHT
As the day wanes, work ceases. A communal meal is eaten. A few

labourers play half-hearted gambling games, but most retire early,
exhausted after their long day. Aphroditus arranges watches around
the skeletal palisade. There is a strong atmosphere of resignation here;
people are in no doubt that all their work is going to be undone.
An hour after sunset, each of the heroes must make a daunting Cool
(Vigour) Resistance roll.
In the event they all fail, skip ahead to the next morning where all the
work done the previous day has been undone. It’s difficult to wake up;
everyone has gained a point of Risk and feels achy and tired. Heroes
prone to excess or indulgence may feel particularly bad. They don’t
know it, but they have been partying all night with the forest folk.
Insight (Awareness) might provide other clues as to what has
happened—the dirt in the camp has been churned up as if a lot of
people have been here, and a roll that gets at least three successes
might spot an out-of-place hoofmark.
If anyone achieves the successes needed to pass the roll, however, they
resist Hedymelia’s enchantment. Anyone who fails the roll becomes
sleepy, and drifts off naturally, in a way that might concern heroes who
are still alert. After they become concerned, they begin to notice
drifting, gentle pipe music coming from somewhere nearby. Nobody
who failed the roll (which includes all the NPCs) notices the music.
At this point, a hero can try to help anyone who is clearly succumbing
to the enchantment. Slapping or shaking someone allows the hero to
spend a point of Resolve to add extra successes to their allies’ roll.
Other alternatives might involve impassioned oratory or performance
designed to try and counter the enchantment. Such efforts can help an
ally throw off the enchantment, but will prove of limited use with the
NPCs who have been repeatedly exposed to the music.
The best way to deal with the enchantment is to block ones’ ears with
wax—but doing so is effective only before the music begins.
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BELLERON
One of the people accompanying the revelry is the missing labourer
Belleron that priestess Ellenia is concerned about. He makes a point of
dancing with the sleeping priestess, and anyone who knows about him
may recognise him from her description. Now, though, he has the goat-
like horn nubs and hairy legs of a faun. He can cheerfully explain that
he has found a new life among the forest folk, where nobody expects
him to do anything he doesn’t want to. The only reason he comes back
at all is to see priestess Ellenia, who was always nice to him.
Belleron is much more likely to talk to the heroes than his fellow fauns
and satyrs. He can confirm that the forest folk are being truthful about
their concerns. A hard Insight (Diplomacy) or standard Cunning
(Manipulation) roll that mentions Priestess Ellenia can get him to lay
out the forest folk’s concerns at least in broad strokes. Unlike the other
forest folk, however, Belleron can also be convinced to speak to the
humans in the camp during the day. This requires a formidable Insight
(Diplomacy) or daunting Cunning (Manipulation) but adds credence to
the heroes’ tale when dealing with the camp’s inhabitants. Doing so
needs careful handling—it will be all too easy for the humans to drive
Belleron off. Only Ellenia really remembers him, and her first reaction
is likely to be horror at what has happened to him unless heroes handle
her very carefully, a result that will cause the satyr to flee weeping.
Depending on the nature of the heroes, it might be possible to expand

Belleron’s role into a side-plot where they help him woo the priestess,
but securing a happy ending for the two should prove
challenging—especially once priestess Anesidora arrives.
THE REVELRY
The pipe music persists for half an hour—everyone in the camp is lulled
into a trance. Some sleep soundlessly, while the guards stand insensate
at their posts, staring out into nothing. Then, out of the woods come a
band of people, laughing and dancing and playing musical
instruments, some bearing torches, others beating drums or cavorting
madly. Many carry bags of food and skins of wine, with two carrying a
roasted boar on a spit between them. They approach the camp and
sweep within, and as they do the music changes to become boisterous
and loud.
It’s obvious these are not normal mortals: many have animal qualities
that mark them as satyrs or fauns, and there are a smattering of
nymphs and stranger creatures among them including several wild
animals (if the heroes had a run-in with a beast on the way here make
sure to include some of that kind). They’re armed, and a few are
armoured, but they don’t have weapons drawn. There are around forty
all told, and at their head is a handsome, leaping, dancing faun
playing the syrinx—Hedymelia.
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If nobody interferes, the throng spreads out through the camp.

Hedymelia takes up a position in the centre of the building site and
continues to play the pipes. The enchanted mortals quit their blankets
or their posts. Most move a little sluggishly; it is obvious that they are
still asleep. As the music continues, they appear to “wake up” but in
actuality they are still dreaming.
Over the next several hours the forest folk and the enchanted mortals
tear down all the work they did the previous day. Once that is done,
they engage in a raucous party, eating and drinking freely from the
supplies in the camp and the food and wine brought by the forest folk.
They resist attempts to interfere with their work, but avoid violence
unless it is absolutely necessary. If fighting breaks out, the satyrs and
fauns move quickly to break it up, striking to subdue rather than to
harm wherever possible.
HEDYMELIA
This daughter of Pan and an oread is a faun, and a master musician.
She speaks rarely, preferring to communicate through her music. She is
an artist rather than a warrior but she can still be dangerous in battle
if riled. Use the orator profile but with a Performance skill of 5 with the AC: Orator, 216
specialisation: Syrinx. She uses Lampoon, Motivate, and Scathing
Tirade with her syrinx and the GM can spend a point of Hubris to
allow her to use Perform in place of Manipulation or Diplomacy.
The syrinx she plays was given to her by Pan, and she knows how to
play them to enchant mortals: the sleep, revelry, and memory
manipulation effects she uses on the camp at Synoriakis are partly due
to the pipes and partly due to her own skill.
Hedymelia can use a burst of terrifying music to fill mortal hearts with
panic, and this ability can be used during battle. When she does so a
mortal who hears the pipes must make a daunting Cool (Vigour)
Resistance roll. If they fail, they must choose to either gain 2 Risk and
be Stunned or to flee in blind terror away from Hedymelia until they
can no longer see or hear her. NPCs will usually choose to flee.
It’s possible a hero may end up in possession of Hedymelia’s syrinx. In

the hands of someone who has not been taught to use their magic,
they have the Fine 1 property. By invoking the Fates, a hero can use AC: Fine, 279
music to employ their Lampoon, Motivate, or Scathing Tirade talent
(allowing them to use Perform in place of Manipulation or Diplomacy).
However, any faun, satyr, nymph or individual favoured by Pan or
Dionysos will recognise the pipes and know that they have been stolen.
Furthermore, any wild creature is likely to target the bearer of the
pipes first when given a choice of who to attack.
Two hours after midnight, the party breaks up. The forest folk return to
the woods, removing any sign they were ever present. The enchanted
mortals stumble back to their beds or posts, and fall into a slumber.
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Heroes who failed to resist the enchantment are likewise ensorcelled;

the GM may gloss over this or give the players a chance to play out
their enchantment. They are enthralled by Hedymelia’s music, and
their primal desires brought to the fore to the point where they may
share secrets or hidden thoughts with their erstwhile companions.
When they awaken the next morning, nobody who fell to the
enchantment has any memory of what happened during the night.
I N T E R F E R I N G I N T H E R E V E L RY
Heroes may observe, or they may try to confront Hedymelia and the
forest folk. The satyrs and fauns are not worried if some of the heroes
have avoided their enchantment—as long as they are polite, they are
happy to talk. Only if they try to force a confrontation, or interfere
with the labour of undoing the day’s work, does the situation change.
Resisting the urge to take part in the party, even for heroes who have
avoided the enchantment, takes a Cool (Vigour) Resistance roll, and
the GM may increase the difficulty if the hero has an indulgent nature.
Depending on the circumstances, anyone who partakes may be
distracted from interrogating any of the forest folk, or become
intoxicated (making attempts to interact with the throng more
difficult). Politely resisting this temptation allows a chance to converse
with the fauns and satyrs, but they are still cautious around mortals.
Hard Insight (Diplomacy) or Cunning (Manipulation) can get the gist

of what is going on, with more successes giving a clearer idea of the
problem. Several of these people are refugees, or the children of such,
forced to flee south by the expansion of Teuthia to the north. Others
are deeply concerned about the presence of more humans here in this
wild place. Specifically the ground the palace is being built on was
once dedicated to celebrating the name of the god Pan but he hasn’t
come to them since the humans started building here.
They’re sick of humans taking whatever they want with their axes and
sickles, and they want them to go away and leave the forest folk in
peace. Hedymelia has been sent by the god of the wild places to help
them, and they hope that once the humans give up and go away, Pan
will come back and celebrate with them again like he used to.
SPEAKING WITH THE REVELLERS

Hedymelia continues to play her pipes through the night—she won’t
stop to engage with heroes unless they force the issue. If this happens,
the tenor of the night changes immediately. As Hedymelia’s pipes fall
quiet the other musicians begin a slow, menacing tune as the forest
folk and the enchanted mortals close in to form a rough circle around
their leader and any heroes. If fighting breaks out the heroes are likely
to be overrun in short order, but again the fauns and satyrs avoid
killing or harming as much as they can.
A daunting Insight (Diplomacy) roll is needed to get her to take them

seriously (reduce the difficulty to hard if the character has a
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connection to the forest folk via Pan or Dionysos, or friendship with a

faun or satyr for example). A formidable Cunning (Manipulation) roll
also works, but the heroes must be careful not to be caught in a lie by
the canny faun. Another way to get her attention is through music. A
hard Insight (Perform) roll can get her attention, and convince her to
engage with the hero who has demonstrated their musical mastery.
Failure prompts Hedymelia to tell them to stop wasting their time; this
isn’t their problem and they should not poke their noses where they’re
not wanted. She may play the somnolent song again, requiring them to
either interrupt or make another daunting Cool (Vigour) Resistance
roll to avoid falling asleep. People who are particularly offensive might
cause her to play a terrifying note on her syrinx.
Success means the daughter of Pan listens patiently to what heroes

have to say. Throughout the conversation she continues to play her
pipes, and often uses music to communicate. She can encourage them
to go on with a short trill of music, or play a querulous note to ask
them to explain further. When she does speak, she does so with as few
words as possible.
She can explain the situation to the heroes, but asks them not to
interfere. She does not want the heroes to tell the people of Teuthia
what is going on because if they do, the arkhon will simply send
soldiers to make war on the forest folk. Hedymelia tries to get them to
swear by almighty Zeus that they will not reveal the secret of what is
happening here—if anyone makes the oath and breaks it without first
being released by the forest folk, they’ll incur 3 points of Hubris.
N E G OT I AT I O N S
The key problem here is that the desires of the forest folk are at odds
with the Teuthian need to expand their dominion and protect
themselves from Sparta. A simple dice roll is not going to convince
Hedymelia and the others to give up their plan, but there is some room
for negotiation.
The heroes could promise to get the arkhon to stop building work; the
forest folk are sceptical that this will work and believe they are more
likely to send soldiers to kill them. Convincing them to let the heroes
negotiate on behalf of the forest folk requires another daunting
Insight (Diplomacy) roll and Hedymalia makes it clear they will
continue to tear down the palace in the meantime. If this roll succeeds,
the heroes may attempt a daunting Cool or Cunning (Diplomacy or
Manipulation) roll to convince Hedymalia that the best way to secure
a deal would be for her to send one of the forest folk to Teuthia to
negotiate. If she is convinced to do this, she indicates that one of the
fauns—the rotund and garrulous Simenon (gluttonous, loquacious,
slothful; he/him) will join the party at “the place where the forest yields
to the farms.” True to her word, the old faun will be waiting for them
when they return to Teuthia.
A compromise could be reached; the forest folk might be persuaded to

accept the presence of the fortified palace as long as it came with firm
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assurances that this would not be used to further the spread of the
polis: no unnecessary land clearance or farms. This would require some
keen arguments and a formidable Insight (Diplomacy) roll.
The heroes may point out the threat of Spartan invasion. The forest
folk are not familiar with them, but have heard legends. A Cunning
(Manipulation or Performance) roll might be used to play up the
danger of the Spartans, reducing the difficulty of the Diplomacy roll to
daunting in the process. With at least four successes on such a roll, the
forest folk may be open to an alliance with the people of Teuthia
against the Spartans, an offer that the arkhon and his councillors
would be interested in and would definitely sweeten any deal.
A final complication comes in the fact that the glade where the palace
is being built was sacred to Pan. Some of the satyrs are unhappy that
a shrine to Demeter is being built there; if the humans must build a
shrine they would much rather it was dedicated to the patron of wild
places rather than the goddess of agriculture. Agreeing to this
stipulation will reduce the difficulty of getting the forest folk to accept
the fortified palace again, but will make the agreement much harder
to sell to Arkhon Dioskouros.
Negotiations don’t have to take place all at once or on the first night.
Hedymelia and the forest folk will be returning each night after all.
FIGHTING THE FOREST FOLK

The forest folk—fauns, satyrs, and nymphs—are detailed on pages 225
and 226 of the AEGEAN rules. They significantly outnumber the heroes,
AC: Bandits, 210 but are in turn outnumbered by the people in the camp. If a fight
AC: Slingers, 222 breaks out, those prepared to fight can be represented by a band or
AC: Hunter, 215 two of bandits or slingers. There are also a few champions—a hunter,
AC: Bandit Leader, 211 or bandit leader for each hero. The GM may also include some forest
creatures alongside the fauns and satyrs—boars, leopards, wolves,
perhaps even a bear.
In each case, they fight to subdue their opponents rather than kill
them wherever possible. This is partly down to their nature, partly
because Hedymelia has instructed them to avoid murder, and partly
because the building site is a place they associate with celebration and
the god Pan and they don’t want to ruin that association by spilling
blood. The fauns in particular—given their relationship with
Dionysos—may get carried away.
If a fight breaks out, remember that there are also plenty of other
forest folk around who will offer support and inspiration to their allies.
When a PC fails a roll, it might be because of the interference of a
non-combatant as often as bad luck or the skills of their opponents.
Should the heroes kill or seriously injure any of the forest folk, then
next time they appear they will be accompanied by at least another
dozen warriors and will be alert for possible threats. Negotiating with
them becomes harder—the difficulty of all such rolls increases by 1 until
the heroes do something to make amends for the initial violence.
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T H E R E V E L RY D E PA R T S
If heroes have indicated they have not been enchanted by Hedymelia’s
pipes, and have not reached an agreement about the palace, she leads
the forest folk in one final tune as the revelry is leaving.
A F T E R T H E PA R T Y
The assumption is that eventually one or more heroes manage to resist

Hedymelia’s pipes and discover what is going on. Unfortunately,
persuading anyone in the camp to believe them may prove
challenging. The ensorcelled humans are disinclined to believe stories
of magical parties, or to accept that they themselves are undoing their
own hard work and stealing their supplies.
Convincing anyone to accept their story requires a daunting Cool

(Diplomacy) or Cunning (Manipulation) roll, although each piece of
concrete evidence they can provide reduces the difficulty by 1 to a
minimum of standard. They may need to repeat this roll for each of
the key characters in the camp, but for each NPC they have convinced,
the difficulty to persuade the others drops by one.
Once the camp is persuaded of what is going on, the question remains
what to do about it. Each of the key NPCs has their own opinion.
◆ Nestoria Oikodomos wants to immediately send word to the

arkhon and his council, and ask them to send more soldiers.
◆ Aphroditus Skentiri wants to see the revelry for himself—which
given his nature may prove to be slightly dangerous as there is a
chance he will leave with them when they depart in a similar
manner to the missing Belleron.
◆ Foreman Netenis will be horrified that creatures from the
wilderness have been enchanting him and his friends in their
sleep—he favours killing the revellers and will hotly reassure the
heroes that he can motivate the workforce to take up arms against
them.
◆ Priestess Ellenia warns against trusting the wild folk of the forest,
but her compassionate nature leads her to favour diplomacy and
negotiation over violence. She argues that there must be a way to
persuade them to give up their pointless resistance to the building
of the palace.
Remember that most of the NPCs are still under the effect of
Hedymelia’s pipes, their more primal qualities brought to the fore,
which might make reaching a consensus difficult. Diplomacy and
Manipulation rolls can win the four over to supporting a PC
plan—failures may mean that they agree to go along with the plan but
complicate matters by pursuing their own agenda once it is put into
operation.
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A C O M P L I C AT I O N F RO M T H E N O R T H
At some point, the priestess of Demeter mentioned by Priestess Helusa

arrives at Synoriakis. When exactly she and her entourage make an
appearance depends on the needs of the story—it makes a dramatic
moment that might trigger the end of a session. Ideally, it should
happen after the heroes have discovered what is going on but before
they can implement their plan. The priestess is accompanied by a score
of men and women—a combination of assistant priests and temple
guards.
Priestess Anesidora (proud, cold, pragmatic; she/her) is an initiate of

the Eleusinian Mysteries. She is well respected among her peers as
someone who gets things done. Priestess Ellenia will be awed into
stuttering silence by her presence. She radiates a calm power that can
turn to a pall of terror at a moment’s notice. Her attitude to the heroes
is one of cooperation—she assumes they are here to solve the problem
so the palace can be completed and the wild lands nearby brought to
heel. If they indicate otherwise she may prove to be a tenacious
opponent.
AC: Priest, 220 Use the priest profile, with the Favour of Demeter, the Fearsome gift,
AC: Fearsome, 293 and whichever of the Underworld Queen talents of the Eleusinian
AC: Eleusinian mysteries the GM chooses.
Mysteries, 181
Athanaseus of Beotia (ruthless, cruel, loyal; he/him) is the leader of
Anesidora’s temple guard and a grandson of the “hero”
Bellerophon—something he is extremely proud of. He and his soldiers
wear black chiton with red edging, and pride themselves on putting
fear into the hearts of their enemies. He is never far from Anesidora,
and never baulks at anything she tells him to do.
AC: Temple Captain, 222 Use the temple captain, but he wields a harpe and a hoplon decorated
AC: Rage, 294 with an intimidating depiction of the khimera, rather than a labrys. He
has the Rage gift and leads a warband of temple guards, armed in
the same fashion.
Anesidora knows only as much as anyone else, but is prepared to do

whatever it takes to resolve the situation. From her point of view, the
important thing is that the people of Hellas continue to drive back the
wilderness with towns and farms. She’s sympathetic to the Arkadian
concerns about Sparta if they are raised, but she has no empathy at
all for the forest folk.
The GM should avoid Anesidora overshadowing the heroes’ actions at

Synoriakis. Wherever possible, the priestess and her allies should be a
step behind their investigations. For example, the priestess is strong
willed, but she may still succumb to Hedymelia’s pipes (although she is
likely to sleep through the revelry rather than join in). It is up to the
heroes to work out how to overcome the music, and decide whether to
share that information with her.
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Her main role is to be a wild card—to challenge any plans they come
up with—and to strongly present the attitude that the wilderness is a
dreadful place that should be civilised by force if need be. She
opposes any plan that involves negotiation with the forest folk, but
may be persuaded of the wisdom of doing so. She will be resistant to
any plan that involves compromising on the building of a shrine, or the
establishment of farms and lumber yards here in the wilderness.
Once she becomes aware of what is happening, her first instinct is to

destroy the forest folk. She may discuss her plan with the heroes,
depending on how they have presented themselves. It involves
preparing poisoned wine—there is an apothekary among her entourage
or she may enlist the aid of a sympathetic hero—and having her
temple guard prepare an ambush. She will rope Aphroditus and his
hoplites in as well, and may try to persuade the heroes to join her.
Unless the heroes intervene, the poisoned wine will kill or incapacitate
many of the forest folk, and the others will be slain or driven off by her
guards. In the process many people on both sides will die—but that will
include Hedymelia who will be killed by the ruthless Athanaseus.
WA R I N T H E W O O D L A N D S
While the heroes alone are no match for the forest folk, Aphroditus
can rally the hoplites, and Foreman Netenis can urge some of the
workers to take up arms to defend themselves. They will need to
protect themselves from Hedymelia’s music, adding the complication
that any strategy will need to be put into operation without anyone
able to hear anyone else.
The AEGEAN book has some basic rules for larger-scale warfare. AC: Warfare, 143
Aphroditus’ hoplites and Athanaseus’ temple guard both count as
hoplitis units, while the labourers count as a unit with Health 1, Military AC: Hoplites, 122
1. The forest folk can be treated as a military unit with Health 3,
Military 2, potentially with a second unit composed of woodland
creatures that has Health 1, Military 1.
Heroic actions are key to winning any battle between the two—there
are some examples on page 144.
Rather than use the warfare rules, the GM may instead present the
battle over Synoriakis in the background while the heroes themselves
deal with the threat of Hedymelia and her pipes. A fight with the
daughter of Pan and at least one faun or satyr champion (or wild
beast) for each hero should present a climactic challenge.
Once warfare is engaged, however, the situation changes permanently.

Unless they are roundly defeated, the forest folk stop trying to use
enchantment to tear down the palace and openly go to war against
the people of Teuthia. The palace will eventually be built, but not
before the forest folk have been killed or driven from the area. The
heroes have not necessarily failed—they’ve resolved the mystery and
revealed the truth—but they have not entirely succeeded either.
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N E G OT I AT I N G W I T H T H E A R K H O N
If the heroes negotiate with the forest folk, and reach some sort of
agreement, they still will need to convince Arkhon Dioskouros and his
councillors to agree. Returning to Teuthia, they will first need to
convince the sceptical polis of what is really going on—a daunting Cool
(Diplomacy) or Cunning (Manipulation) roll as before. The difficulty
can be reduced by bringing a representative of the forest folk with
them; by convincing either or both of Nestoria Oikodomos or
Aphroditus Skentiri to corroborate their story; or by providing concrete
and indisputable evidence of what they have discovered.
Actually persuading the arkhon and his council to accept a deal

depends on what has been agreed, and the relationship (if any) the
heroes have cultivated with the people of Teuthia. Depending on the
drama, the deal, and the composition of the party, this may come
down to a single roll of Insight (Diplomacy) or Cunning
(Manipulation). It might also work well as a tense extended roll, with
various heroes arguing with the arkhon and his councillors over each
clause of any agreement. In this case 10 successes would be needed to
secure a deal, with a number of rolls limited depending on how
seriously the arkhon, the Oikodomos, and the Skentiri take the heroes.
Convincing the council to give up on the palace at Synoriakis is

extremely difficult. One way to achieve this is to point out that the
forest folk will not stop, and convince the council that the costs of
continuing will ruin them. Counter arguments from the council might
include proposals to send the Teuthian military to clear the forests, or
protect the palace in force (armed with knowledge of how to protect
against the enchanting music).
Securing a treaty not to expand into the forests if the fauns and satyrs
allow the fortified palace to be completed is an easier sell. First the
heroes must reveal that they know the wider purpose of the palace at
Synoriakis. Then they need to convince the council that pushing out
into the wilderness from the palace—transforming it into a town—would
lead to increased property but will simply lead to further conflict, not
only with the forest folk but also with the Spartans especially if they
stress that the latter will see this as a provocation they cannot ignore.
If they have learned of the long-term plan to try and build an anti-
Spartan alliance with the southern Arkadian city states, the difficulty is
further reduced but the arkhon wants to know who has been so
indiscreet as to divulge such state secrets. This may lead to future
complications. The priests of Demeter strenuously oppose any
agreement not to civilise the wilderness, and the Skentiri are
particularly concerned about the inability to recoup some of the losses
to the treasury through exploiting the natural resources around the
palace. The latter might be addressed by heroes who are able to
arrange some kind of trade deal with their own polis.
If the heroes have convinced the forest folk of the wisdom of an

alliance against the Spartans, this serves as a major mark in their
favour. The arkhon still needs to be persuaded that they will be
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reliable allies, but everyone can see the advantage of wood-wise

creatures prepared to help protect southern Arkadia. The priests of
Demeter are again sceptical; they may argue that fauns and satyrs
cannot be relied on because they are innately uncivilised and
unpredictable creatures.
Demeter’s priesthood will loudly oppose any agreement that prevents

them building a shrine at Synoriakis. One way to get the arkhon and
councillors on the heroes’ side is to convince them that the place is
sacred to Pan, and that building a shrine of Demeter there is likely to
incite more conflict between the gods with Teuthia caught in the
middle. One possible way to mollify the priesthood is to convince the
arkhon that before the palace is completed, the polis should expand
the shrine of Demeter into a temple, and perhaps honour the goddess
with a statue for good measure. This is expensive, of course, and both
the Oikodomos, and the Skentiri may question where the money for
such an endeavour is to come from—especially if the polis is expected
to also build a shrine to Pan.
TRIUMPH
If the heroes discover what is going on in Synoriakis, and put a stop to

the curse, they receive 1 Glory apiece. This applies even if they
“stopped” the curse by arranging for open warfare to break out
between the forest folk and the people of Teuthia. If they manage to
negotiate a compromise that allows the palace to be built, they receive
another Glory apiece.
Depending on what happened, the heroes and their Polis may also
have incurred the displeasure of Sparta, the goddess Demeter, or the
god Pan. Helping to ensure Teuthia’s prosperity and security may lead
to good relations between their polis and the Arkadian arkhon—and
indeed endear them to any other of the Arkadian city states, especially
those secretly supporting the formation of an alliance against the
larger, greedier polis.
Anyone who swore not to speak of what was going on at Synoriakis

and broke that vow without being released from it incurs 3 Hubris. If
the heroes harmed Priestess Anesidora, anyone involved receives 2
Hubris. They may receive additional Hubris if they undermined
Demeter’s interests in southern Arkadia. One way to avoid this and still
negotiate a compromise that removes the shrine from Pan’s sacred
ground is to ensure that the god is honoured in Tuethia. This could be
achieved by erecting a statue of Pan or by building a temple
dedicated to the god. Harming Hedymelia incurs a point of Hubris for
everyone involved, as does stealing the syrinx that Pan gave to her,
and gains the Disfavour of the god of the wilds.
A hero who spoke with Hekate, and who spent any time exploring the
root of the conflict between civilisation and wilderness, may find they
have gained the favour of the goddess of crossroads, and perhaps a
minor gift or blessing, even if they didn’t actually resolve the situation.
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DISASTER
If the heroes don’t bring things to a head, then the palace at

Synoriakis is eventually abandoned. The polis of Teuthia is weakened,
and stands much less secure against Spartan invasion.
The quest doesn’t require the heroes to negotiate a compromise

between the polis and the forest folk, exposing what is going on and
putting a stop to it is sufficient even if the palace itself never gets
built. Spreading chaos in Teuthia, however, will win them few friends
there and may negatively impact their relations with other Akadian
city states.
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CHAPTER 8
THE GOLDEN SHIRT

BOOK OF HEROES
Weave a splendid garment from the golden wool of the Khrysomalloi.
BAC KG RO U N D
Most people know the story of the Golden Fleece: how a flying ram
rescued the children of the goddess Nephele from Beotia before they
could be murdered by their stepmother. Depending on whom one
listens to, the golden ram was a child of Poseidon himself. Upon
reaching safety in Kolkhis, the beast was sacrificed to the gods, its
wool kept and named the Golden Fleece. The Fleece was recently
stolen from Kolkhis by the hero Iason and is currently on display in
Iolkos, which may well have inspired the quest giver to present this
challenge.
According to scholars, during his fateful flight from Beotia to Kolkhis,

the golden ram set down briefly in the Sporades to gird himself for the
long journey across the sea. While there, he sired several offspring who
partake of his semi-divine nature—the Khrysomalloi. In addition to the
magical vigour of their sire, the Khrysomalloi also bear the blessing of
Helios, god of the Sun, whose rays warmed the flying ram and his
charges as he flew high above the clouds.
While the ewes of the Khrysomalloi are larger than normal, and
provide particularly fine wool, the rams are another matter entirely.
With mouths full of razor-sharp teeth, and hooves of iron, the male
Khrysomalloi are terrible carnivores that hunt in small packs and are
furiously protective of the ewes and lambs. More inconveniently, their
beautiful golden wool is infused with the power of the sun, burning
anyone who tries to take it.
All of this information should be available to the heroes; even the

location of the island in the north-eastern Sporades is not particularly
a secret. A successful Insight (Lore) roll, should warn that the
Khrysomalloi are under the protection of both Zeus (as father of the
gods) and Hermes (in his role as god of shepherds). Thus, harming
them may incur their wrath. A hero with this kind of insight may realise
that before setting off to shear the Khrysomalloi, it might be a good
idea to make an offering to the gods in question and ask for their
help. Even if neither is inclined to assist directly, it will hopefully go
some way to reducing the likelihood of gaining Hubris for taking wool
from these sacred sheep.
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THE BURNING FLEECE
One of the challenges presented by this quest lies in the fact that the
raw fleece of the Khrysomalloi rams exudes heat like a fire. It burns
flesh, and will eventually ignite any flammable material it comes into
contact with. Insight (Knowledge or Lore) rolls may be used to provide
suggestions about ways to address this challenge.
The tale of Iason, and his recovery of the Golden Fleece, is well known
but the details may be a little more obscure. With a successful roll,
they may know of the challenge placed before him by King Aeëtes of
Kolkhis—to harness a fire-breathing bull. Iason managed to do so with
the aid of a special oil prepared by the sorceress Medea, who is
currently known to be in Athens. This knowledge may be enough to
send the heroes to visit one of these storied characters, in the hope of
gaining access to the fire resistance oil.
Iason might have an amphora of the oil that he is prepared to share

with someone who impresses him. Likewise, Medea might be willing to
8 / THE GOLDEN SHIRT

brew an amount of it or even share the recipe with a heroic
Apothekary if she is particularly well inclined towards the heroes.
Both are likely to want a service in return, of course. Iason may rope
them into a scheme to deal with a vengeful member of the old royal
family, while Medea might want them to help the Pallantides forment
revolt in Attika, or accompany a diplomatic mission on behalf of the
polis. Either character might try to entangle the heroes in their
complex personal lives—perhaps an attempted reconciliation or
revenge strike depending on how the GM characterises the relationship
between the former lovers.
Regardless, an amphora of the special oil will protect a single

individual from exposure to heat for a day, or can coat a sack or other
container such that it can carry the raw wool of the Khrysomalloi
without risking combustion.
Other possibilities include using Arcane Lore to identify a creature

whose blood or hide might be used to protect from flame and heat, or
speaking with servants of an appropriate god such as Hephaestos or
the Cult of Hekate for aid.
If the heroes do take a detour to try and secure fire resistance, then
don’t forget the possibilities of introducing recurring characters. For
example, if they visit Iolkos to speak with the guardians of the Golden
Fleece, or Kolkhis to prevail on Iason, they might encounter the
monster hunter Lykos (from The Doom of Katharonisi adventure) and
maybe receive useful advice about dealing with the Khrysomalloi.
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T H E I S L E O F T H E K H RYS O M A L LO I
The isle of the Khrysomalloi is found in the north-eastern Sporades.

Surrounded by sheer cliffs on all sides, there is only a single beach
where a landing may be attempted. Vicious rocky outcroppings rise
from the waves, making it impossible for a ship to get too close and
requiring the use of a smaller boat. Getting to the island without
mishap requires a Cool (Awareness) roll. Failure means the boat is
damaged and requires fixing before anyone can leave the island, and
depending on the circumstances and drama may result in everyone
gaining a point of Risk—especially if there is anyone aboard who has
incurred the disfavour of Poseidon.
Rugged and unwelcoming, there are no settlements here. Indeed, there

is only a single permanent resident—Voskas the shepherd. In addition
to several flocks of Khrysomalloi, small herds of deer, large colonies of
rabbits, and various squawking seabirds call the island home (and
provide sustenance to the carnivorous rams). The isle is grassy, with
many tangled bushes, but very few trees. Here and there are patches
of burnt ground where everything has been reduced to cinders as by a
sudden wildfire, indicating places where the aggressive Khrysomalloi
rams have fought one another.
Somewhere in the hills is the spring where their ancestor and his
charges quenched their thirst and broke their fast before they set off
across the sea. A small grove of olive trees surround it, along with a
ramshackle hut belonging to Voskas the Shepherd.
THE KHRYSOMALLOI
Locating a flock of ewes and young sheep is not a challenge. Each

consists of perhaps twenty ewes and between six and a dozen younger
sheep. The golden-eyed females are about half again the size of a
normal sheep, possess a single pair of bronze horns, and have a
brazen tint to their fleece. They are generally passive creatures, unless
they are called on to protect their lambs. In the latter case, they will
attempt to trample interlopers, calling loudly for the rams to come to
AC: Cattle, 229 their aid. If required, use the cattle profile, adding 3 points of Armour
(their magical fleece turns aside blows), and immunity to fire and heat.
Where there are ewes, the rams are not far behind. Even larger than
the ewes, each has a double pair of golden horns, blazing crimson
eyes, razor-sharp teeth, bronze hooves, and fleece the colour of the
noonday sun. Fierce carnivores, they are almost entirely devoid of fear
and will pursue anything they might be able to eat with irresistible
fervour. They hunt in small packs; generally a single dominant male
and two or three younger creatures that follow its lead.
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GODS AND MONSTERS
THE SHEPHERD
Voskas (cheerful, friendly, optimistic; they/them) is broad shouldered

with a shock of curly brown hair and a pair of donkey ears that mark
them out as something other than human. They wear a beautiful
woollen khiton, woven from the wool of the Khrysomalloi ewes, and a
modified petasos through which their long ears peek.
A child of Hermes, their father has charged them with looking after
the magical sheep—although they don’t generally bring this up or
discuss it except when speaking to a half-sibling—they enjoy the peace
and quiet of the island. Thanks to the protection of Hermes (in his role
as patron of shepherds), the Khrysomalloi don’t attack Voskas. They
tend to the flock like any shepherd might, but are still careful to give
the rams a wide berth especially when they are in rut.
Assuming the heroes are at least cordial, the shepherd offers the
hospitality of their shepherding hut—a ramshackle building that stands
among the grove of olive trees. The shepherd is cheerfully up-front

about the dangers presented by the Khrysomalloi, and can fill the
heroes in on any details they have not already gathered, being
especially keen to reiterate that the creatures are sacred to Hermes
and that Zeus himself will look poorly on anyone who harms them.
Unfortunately, Voskas rarely answers a question directly—they are
prone to greeting questions with questions of their own. Partly they do
this because it is their nature, partly because they are starved for
company—the Khrysomalloi are dreadful conversationalists.
Voskas’ hut contains all the equipment one might expect a shepherd to
have including a set of iron shears, and the tools needed to card, spin,
and weave woollen thread. They will take some convincing (challenging
Insight (Diplomacy) or Cunning (Manipulation)) to let anyone else use
these tools. Voskas is capable of shearing the Khrysomalloi themselves,
but it is even harder to persuade them to do so (hard Cunning
(Diplomacy or Manipulation)), and they stipulate that the creatures
must not under any circumstances be harmed. While Voskas has the
tools needed to spin wool and weave their own clothes, they caution
that these accoutrements won’t stand up to the heat generated by the
fleece of the rams. They’ll need to find their own way of carding,
spinning, and weaving the wool from a ram.
If anyone tries to harm Voskas, they run away but return to harass the
heroes as long as they remain on the island, especially if they think the
Khrysomalloi are in danger.
VO S K A S T H E S H E P H E R D
If a profile is needed for Voskas, use the hunter profile but give them AC: Hunter, 215
the Sure Footed talent and the Favour of Hermes. They fight with their AC: Sure Footed, 291
sling whenever possible, drawing their kopis only in desperation.
Harming Voskas will attract the ire of Hermes and killing them will
gain the god’s Disfavour.
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K H RYS O M A L LO I R A M CHAMPION
Fearsome predators that hunt in small packs led by a dominant male. Sacred to
both Hermes and Zeus, anyone who harms one of these creatures gains a point
of Hubris the first time they do so, and anyone striking a killing blow receives
another point.
Tactics: The Khrysomalloi rams are tough, relentless, and savage. Unlike natural
animals they have no fear of humans, and view them as just another thing to eat.
In combat, they attempt to knock enemies prone with headbutt (ideally as part
of a charge), and then use iron hoofed trample or savage bite, favouring prone
opponents where possible. Once they succumb to frenzy they favour using both
attacks against prone opponents, or combine a headbutt with an iron hoofed
trample.

Abilities
Blazing Fleece: The fleece of the Khrysomalloi not only turns aside weapons, but
burns with fiery potence. Unless they are protected from fire, anyone touching the
ram’s wool with bare hands must make a Might (Vigour) Resistance roll or gain 1
Risk. Anyone actively grappling the ram gains 2 Risk, reducing the effect by one
for each success on the Resistance roll. Likewise, a mundane net will begin to
smoulder the round after it is used to capture the ram, and will combust in three
rounds unless it has special properties.
Charge: This creature gains +2 damage on any Brawl or Melee Harm attack
Action if it makes a Move Maneuver immediately before the attack.
Dominant Male: One of the rams in any pack is likely to be the dominant male,
notably larger than the younger males. Add +1 to Might and +2 Endurance.
Frenzy: Once this creature takes a Wound it enters into a frenzied state, fighting
until the bitter end. It gains an additional attack per round and does +2 damage
on all attacks.
Iron-Hoofed Trample: An Iron-Hoofed Trample attack can be made against a
prone target. Unlike a natural creature, the Khrysomalloi ram does not need to
make a Move Maneuver before making this attack, rearing and crushing with
their iron hooves and tearing with their savage jaws.
Headbutt Brawl 8D 1 4 Stagger

Iron-Hoofed Trample Athletics 7D 1 5 Pierce
Savage Bite Brawl 8D 1 5 Savage
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GODS AND MONSTERS
SECURING THE FLEECE
Shearing a ram, without killing it, represents a significant challenge.

The heroes could just decide to fight and kill a pack of rams—they will
need to kill a dominant male and two or three adolescents—which will
cause them to gain Hubris and cost them any friendship they may
have cultivated with Voskas.
RAM WRESTLING
The heroes might try to restrain a ram while one of their number
shears the creature. This will require someone to keep the ram
restrained by wrestling it to the ground. Anyone who single-handedly
holds a ram steady while a companion shears it gains 1 Glory. It is
worth noting (possibly with an Insight (Awareness) roll) that only the
fleece burns. The rest of the creature’s body is warm to the touch but
doesn’t burn, so it is possible to secure the legs of the ram with

mundane rope. As long as the ram is pinned by someone else, tying it
up requires a Might (Athletics) extended roll requiring 4 successes.
D R U G G E D M E AT
The rams are indiscriminate carnivores, which may suggest the idea of
drugging them to make them less dangerous or render them insensate.
Such a plan requires a sizable amount of fresh meat—perhaps deer
meat secured with Insight or Cunning (Survival:Hunting)—and a
suitable drug. Cool (Survival:Foraging) can be used to identify suitable
components and Insight (Craft:Potion) to prepare a sleeping draught
may be called for.
Hunting, or searching for ingredients for a potion, both run the risk of
the heroes attracting the attention of the Khrysomalloi, so may need
to be accompanied by Cunning (Athletics) rolls to avoid a dangerous
encounter. The rams will need to be lured to the trapped meat, using
Cunning (Survival), and they prefer fresh meat to carrion so any
heroes will need to ensure they are well hidden.
SHEARING
Actually shearing a ram is an extended roll using Reflexes (Craft or

Survival) that needs to accrue 5 successes, and needs a suitable set of
tools. This may be particularly dangerous if the rams are conscious,
with a roll allowed each round as long as the creature is restrained.
Using Voskas’ shears adds +1D to each roll, while the shepherd rolls 8D
if they are persuaded to aid directly.
If a ram has been drugged, then use Might (Vigour) rolls for the ram
to see how long they remain asleep (assume they need the number of
successes gained in brewing the drug plus five). Each round someone is
shearing a ram, they need to make a Might or Reflexes (Vigour)
Resistance roll or gain 1 Risk from the heat of the wool.
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MAKING THE SHIRT
Having secured the wool, the heroes need to turn it into wool thread
and weave the actual garment.
TRANSPORTING THE FLEECE
The wool remains hot once it is removed from the ram, or if the
creature is killed. Whenever someone is carrying an amount of fleece,
they need to make Might (Vigour) rolls every five minutes or so to
avoid gaining Risk. It will eventually set fire to anything flammable it is
in contact with; the GM should play this by ear or spend a point of
Hubris to prompt a fire-related accident when the drama is flagging.
The best ways to transport the burning fleece are in a fire-resistant

container, or to immerse it in water. The water will eventually boil, and
will need to be regularly replenished, but it won’t set fire to anything as
long as the water level is regularly topped up, and as long as nobody
knocks it over.
A D D I T I O N A L WO O L
A single ram provides enough raw wool to create a suitable garment
for the quest. If the heroes manage to shear more than one ram, then
the GM should increase the difficulty of transporting the fleece, but
they will be able to craft more than one garment (especially if one of
the heroes is themselves a crafter).
The heroes might also decide to shear one or more of the Khrysomalloi
ewes—a much less daunting prospect than shearing a ram. An outfit
incorporating garments woven from the wool of a Khrysomalloi ewe
have a beautiful lustre, and are particularly hard wearing. They have
the Rich 1 property, and while they don’t provide any armour they resist
mundane attempts to damage them. It can provide +1D to any
Resistance roll against the effects of heat, fire, and cold. Garments of
Khrysomalloi ewe wool make a fine gift.
Cloth woven from the wool of a Khrysomalloi ram shimmers like gold,
and an outfit containing such a garment has the Rich 2 property, and
can provide +2D to any Resistance roll against the effects of heat, fire,
or cold. A garment of Khrysomalloi rams wool is a very fine gift indeed,
and makes a suitable present for an arkhon, king, or even a god.
S P I N N I N G T H E WO O L
Before it can be woven, the wool needs to be carded and spun into
woollen thread. Normal tools for turning raw wool into wool thread will
quickly catch fire, being made of wood. Once the raw wool has been
processed, it needs to be woven into cloth. Someone will need to design
a suitably splendid garment, and then the shirt will actually need to be
created.
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It is up to the GM how challenging to make this stage of the quest,

depending on the needs of the story. The heroes might be able to
acquire suitable tools as an Uncommon piece of equipment with a cost
of 2 (meaning a visit to a city and a successful Standing roll). Or, they
may need to seek out someone with expert knowledge or abilities to
spin the wool for them. Voskas the shepherd may offer suggestions, or
they may need to make Insight (Lore) rolls to work out where best to
go. Examples of people who may be able to help the heroes might
include followers of the gods Athena (in her role as patron of crafts),
Hestia (patron of domestic activities), or Hekate (patron of witches).
Once the raw wool is spun into thread, it becomes much less
dangerous. It is still naturally warm to the touch, but it no longer burns
flesh nor causes flammable items to ignite.
ARAKHNE
Another possibility might be to seek out the aid of the master weaver
Arakhne, depending on whether or not she has had her fateful meeting

with Athena. Rumours of her expertise have spread across Hellas, and
she is said to be able to weave anything with a skill that is surely
granted her by the gods themselves.
Visiting Arakhne (proud, industrious, unwise; she/her) would

necessitate a detour to Lydia, in Anatolia. However, according to some
stories her father Idmon was a merchant so she might be encountered
anywhere with trade links to Anatolia. There is no doubt that the young
woman could spin the wool and even weave a shirt, but drawing on her
expertise might risk some of her Hubris rubbing off on the heroes. In
this case a point or two should be sufficient, and avoidable if they
chastise her for her attitude—although doing so might make it harder
to convince her to help them.
T H E W E AV I N G
Again, how difficult it is to turn the thread into a garment is up to the

GM and the demands of their campaign. If one of the heroes is a
crafter, then they may want to undertake the procedure themselves.
This can be abstracted easily enough to a Cool (Craft:Weaving) roll
with the number of successes indicating how fine the final product will
be (even a single success should be enough to produce a garment that
fulfils the requirements of the quest).
Alternatively, if the GM prefers something more involved, then an

extended roll requiring 5 successes to produce a suitably legendary
garment may be more appropriate, with each roll interspersed with a
complication or challenge that allows other heroes to become involved.
For example, the crafting may call for a special dye secured with
Insight (Survival:Forage), intrusion from an antagonist who tries to
steal the partially completed cloth, or a diplomatic encounter with
someone who believes the act of spinning the shirt from the special
wool risks offending Zeus.
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Finally, the weaving might present an opportunity for direct action by

an antagonist if one has been established in the campaign. This might
lead to a battle to protect the weaver, especially if they are an NPC.
TRIUMPH
Weaving the marvellous garment and presenting it to the quest giver

secures an award of 2 Glory. If a specific hero made the shirt
themselves, they may receive an additional point of Glory as news of
their superlative artistry spreads.
In addition to any Hubris gained for harming the Khrysomalloi, it

might be appropriate to give everyone involved a point of Hubris
unless they have been very careful to make offerings to Zeus and
Hermes before taking the wool from their sacred sheep.
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CHAPTER 9
THE PELIONION
BOOK OF HEROES
Bring me the golden crown awarded to the victor of Kheiron’s centaur

games.
C O N T E N T WA R N I N G
Drunkenness, bullying, themes of “racial supremacy”.
BAC KG RO U N D
Kheiron laments the fact that his people are seen as savages by the
people of Hellas. It doesn’t help matters that he and his fellow
philosophically-inclined centaurs of Mount Pelion are in the minority;
many of the rest of their people enjoy giving in to the bestial urges
that flow from their animal heritage.
At the urging of his mentor Apollo, Kheiron has hit on a plan to try
and move his cousins toward a more civilised state of being. He is
hosting a series of games on the slopes of Mount Pelion. In addition to
traditional athletic competitions, he promotes music, poetry, philosophy
and history. His hope is that the centaurs might be encouraged to
celebrate their human nature over their savage instincts.
Unfortunately, there is a growing anti-human bias among the centaurs.

While hunting the Erymanthian Boar, the hero Herakles stayed as a
guest of the centaur Pholus. When his host opened a skin of wine given
him by Dionysus, it provoked his centaur guests into a frenzy. Herakles
killed them all, creating a bitter rift between human and centaur that
has deepened in the years since. The children of Herakles—the
Heraklides—are a particular focus for the ire of the vengeful centaurs.
The immortal centaur philosopher has banned the drinking of wine,

and intends these games to be a triumph of civilisation over
barbarism. He has invited all the tribes of centaurs across Hellas to
attend, as well as representatives of several human poleis hoping that
their good example might rub off on the centaurs. Unfortunately, some
of his guests have agendas of their own, particularly Aegisthus of
Mykenai who sees a perfect opportunity to use the centaurs’ hatred of
the Heraklides to further his own ambitions.
Insight (Knowledge) can provide more details about Kheiron’s role as

mentor to heroes, confidante of Apollo, and spiritual leader of the
AC: Kheiron, 56 centaurs. A hero with the Kheiron gift does not need to roll; having
spent time on Mount Pelion they can have any information in the
faction write-up below, and may be familiar with the Pholloi tribe as
well. Depending on their history, they may expect a warm welcome
when they return to Mount Pelion.
Insight (Knowledge) can also provide the commonly known details

about the rift between the centaurs and humans. The accepted story is
that Herakles slaughtered a number of centaur champions while
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GODS AND MONSTERS
visiting Mount Pelion, but the details are subject to rumour and
speculation. Once the heroes reach the Pelionion, Knowledge rolls can
provide insight into the Mykenai and the Athenian factions, especially
the poor relations between the two poleis.
THE GODS
Four gods are watching the events on Mount Pelion with interest. If a
hero is favoured by one of those interested gods, or has their
disfavour, they may take a more direct hand in affairs around the
centaur games.
Apollo: The golden god is foster-father of Kheiron, and supports the

games. He would like to see the centaurs embrace their human side,
encouraging them to follow the good example of Kheiron and the
other civilised centaurs. Heavily invested in the success of the
Pelionion, he may try and nudge things along, perhaps prodding a
favoured hero towards the various conspiracies or offering unexpected
guidance at a key moment (such as providing a brief warning during
9 / THE PELIONION
the attempted assassination of Kheiron).
Dionysos: The horned Dionysoi are, unsurprisingly, his representatives

at the centaur games. The young god of revelry and madness enjoys
celebrating with the centaurs, and wants to see more of them embrace
their hedonistic side. He opposes Apollo in this regard, which may
bring heroes into conflict with each other. A favoured hero may be
encouraged to join the centaur revels, perhaps with instructions to
support centaurs wishing to flout Kheiron’s restrictions on strong wine.
The god might even provide a hero that has his favour (or his
disfavour in fact) with a skin of wine similar to the one given to the
original Phollus, wine so potent that the mere scent of it will drive
nearby centaurs to violence.
Artemis: She wants the centaurs to remain creatures of the wild, and
the Kynegoi are her representatives. She is at odds with both her
brother Apollo and the other interested gods, as she thinks the
centaurs would be better embracing their dual nature rather than
focusing on either civilised or wild tendencies. Further, it might be for
the best if they limited their exposure to humanity. She might prod a
favoured hero towards the Kynegoi, perhaps taking the opportunity to
encourage the character to learn a lesson from them about the joys of
hunting and living in the moment over the complex demands of city
life.
Ares: The war god would enjoy the spectacle of humans and centaurs
fighting one another. Keen to prevent any reconciliation between the
two peoples, he offers some support to the Eurythioi. While not
currently aware of the Mykenean plot, he would whole-heartedly
support it. If one of the heroes has his favour, he might encourage
them to sabotage Kheiron’s plan and help promote a war between
centaurs and humans. If he gets the chance, he’s likely to try and prod
a hero who has either his favour or his disfavour into a serious fight
with a centaur champion just to see how they do.
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A WO R D A B O U T C E N TAU R S
This adventure involves large numbers of centaurs, and one of the

themes is the tension between their human-half and their animal-half.
In mythology, Kheiron and his ilk are very much the exception; centaurs
are for the most part dreadful. Rather than being “humans with horse
bodies” they are uncivilised, predatory monsters always one cup of
wine away from murder, kidnapping, and worse. They’re also big,
towering over most humans, and their combined physique overshadows
all save the most accomplished athletes. Most of them entirely eschew
the trappings of human civilisation—clothes in particular—and are used
to taking what they want without concern for anyone weaker than
themselves. Above all, even on their best behaviour, centaurs are
dangerous, combining the worst elements of a runaway horse and a
violent drunk.
It’s a good idea to check in with your players before running this
adventure, possibly revisiting session zero discussions, and work out
how the group is most comfortable portraying the creatures especially
when it comes to drunken violence, bullying, and the “might makes
right” philosophy exemplified by some of the tribes.
FAC T I O N S
The conflict at the Pelionion arises because of the interaction between

the various factions of humans and centaurs gathered for the games.
Each of the eight main factions have their own agenda, which they will
try to pursue during the games. There’s no requirement for the GM to
give all the factions equal “screen time”; the focus could be on either
those the GM is interested in or the players.
Each of the centaur factions has claimed an area of the Pelionion

grounds for themselves, and mark out their territory with long
fluttering ribbons in pairs of colours. During the contests, they weave
these ribbons into their tails or wear them tied in their hair.
Having the tribes identify themselves with coloured ribbons makes it

easier for the heroes to keep track of which faction is which, and
provides an opportunity to seed clues and red herrings. While no two
factions have the same colour combination, there is plenty of cross-
over between the colours used. A faction involved in sabotaging the
games might accidentally leave one of their ribbons behind as a clue
(narrowing down the number of likely culprits to those with the same
colour ribbon).
Of course the manipulative Aegisthus might try to frame a member of

a faction by planting one of their ribbons at the scene of a crime. In
the latter case, a hero able to make a hard Insight (Craft) roll can
uncover the false-flag nature of the “clue” perhaps by discovering the
ribbon shows signs of having been woven by humans rather than
centaurs, or actually having been cut loose and the ends frayed with a
knife rather than torn away as it first appears.
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GODS AND MONSTERS
FACTION GOALS FEATURES NPCS
Kheiron
(centaur),
Clothed; civilised.
Mount Run the Pelionion, make centaur Kharilko
Blue and white
Pelion society more gentle (nymph),
ribbons
Akhilles
(human)
Resolve the fall-out of the Pholus Outis
incident; if possible recruit allies (Iolaos),
Athens/ Smart clothing in
among the centaurs; find out what Makaria,
Heraklides the Athenian style
the Mykenai are up to and put a Kleon
stop to it Mylosios
Gather allies among the centaurs
Rich Mykenean
The against the Heraklides; keep an eye Aegisthus of
garb with plenty of
Mykenai on the Athenians and stymie their Mykenai
purple
plans
Phollus the
The Participate in the games in good Short cloaks; yellow
Younger,
Pholloi faith; learn about human guests and blue ribbons
9 / THE PELIONION
Amanestra
Win the games by whatever means
necessary; remind centaurs that Two-handed spears Nessia
The
humans cannot be trusted; if the and bows; green daughter of
Euvanoi
Heraklides are exposed, tear them and yellow ribbons Nessus
apart
Win the fighting games by whatever
Mismatched arms
The means necessary; celebrate their
and armour; red Eurytus
Eurythioi strength; demonstrate the folly of
and blue ribbons
resisting them to the other centaurs
Indulge themselves; win some Ram horns, goatish
The contests; remind the other centaurs qualities; bright
Savena
Dionysoi of the joy that comes from pigments; red and
embracing their bestial nature green ribbons
Slight, deer-like
Win the contests; demonstrate
aspect; bow and
The centaur superiority over humans; try
arrows; silver Nikaea
Kynegoi to remain aloof from factional
armbands; green
conflicts
and blue ribbons
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BOOK OF HEROES
MOUNT PELION (BLUE AND WHITE)
Agenda: Run the games; unite the centaur tribes and salve their hurt
pride; encourage understanding between centaur and human.
The centaurs of Mount Pelion are the most “civilised” of all the tribes,
and favour peace between humans and centaurs. While Kheiron in
particular wishes for humans and centaurs to live together in harmony
in some fashion, others would be equally happy to see the two people
live apart, having nothing to do with one another. Unlike the other
centaurs, those of Mount Pelion dress the human-halves of their
bodies, favouring a white khiton or peplos.
◆ Kheiron (patient, immortal, commanding; he/him). Spiritual leader

of the centaurs and teacher of many arts including healing and
archery. The centaur games are his attempt to bring his people
together, heal the wounds caused by their recent losses, and help
them embrace their human nature rather than their bestial
instincts.
◆ Kharilko (insightful, eloquent, unflappable; she/her). A nymph, and
wife of Kheiron. Graceful and soft-spoken, she is used to dealing
with heroes, having fostered several children who grew up to be
renowned heroes.
◆ Akhilles (precocious, curious, cocky; he/him) Kheiron’s young ward,
a youth on the cusp of adulthood. He has no sense of self-
preservation, a situation exacerbated by his invulnerability thanks
to being immersed in the River Styx as a child. Constantly asks
questions, with a preternatural ability to turn up in places he is not
wanted.
AT H E N S / T H E H E R A K L I D E S
Goals: Resolve the fall-out of the Pholus incident; if possible recruit

allies among the centaurs; find out what the Mykenai are up to and
put a stop to it.
A small group of humans from Athens are attending Kheiron’s games,

in recognition of their long history of sponsoring events of their own.
Unbeknownst to anyone outside Kheiron’s confidants, the leaders of
the delegation are part of the Heraklides faction—“Outis of Athens” is
actually Iolaos, nephew and companion of Herakles, here to support
the hero’s daughter Makaria. Their aim is to try and smooth relations
between the centaurs and the children of Herakles.
◆ “Outis of Athens” (Iolaos) (tired, clever, relentless; he/him)

believes that finding out the precise details of Herakles’ massacre
of the centaurs, and making that information public, will bring the
centaurs round. Very suspicious of Aegisthus of Mykenai, who he
worries may recognise him. A hero who has a connection to the
Heraklides, or has spent time in Athens, may recognise Iolaos for
who he is—perhaps with an Insight (Knowledge) roll.
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◆ Makaria (observant, reckless, loyal; she/her) is more practical than

her cousin and knows that it will take more than a misplaced belief
in “the truth” to resolve this situation. A skilled warrior and archer,
Makaria carries a massive bow that a normal archer would
struggle to draw much less string. She also has two arrows in her
quiver that have been dipped in the blood of the hydra—gifts from
her father when she won an archery competition as a girl.
◆ Kleon Mylosios (inquisitive, nervous, out-of-their-depth; he/him) is
a priest of Apollo, and has been asked by Kheiron to help judge
the music, poetry, and philosophy contests. Generally well-meaning,
he has never left the polis before and is not finding the experience
agreeable. He is nervous around the centaurs, and worried that if
they find out who the rest of the delegation is they will tear them
all apart.
H Y D R A A R ROW S
Both Aegisthus and Makaria have arrows that have been dipped in the
blood of the Lernaean Hydra—one of the most lethal poisons known in
all Hellas. The venom they bear causes incredible pain, as if the entire
9 / THE PELIONION
body is on fire, and while they kill mortals fairly quickly they cause
immortal victims to suffer endlessly. Worse, the wounds they cause are
beyond the power of mortal medicine to treat. As the story of Phollus
shows, even a nick from one of these arrows can be enough to kill.
When used against a target of human or centaur size, the arrow is

considered to have the Poison 2 property that lasts indefinitely.
Against a larger creature the GM should play things by ear; only a
truly legendary being is likely to be able to overcome this venom.
If a hero takes a wound from one of these arrows, the GM will need to
decide if they want to allow the venom to be cured. In the myths,
Herakles and Kheiron both ultimately die from wounds inflicted by
arrows dipped in hydra blood, with the gods unable or unwilling to
intervene.
The blood is used up after the venom is delivered to a living creature

and can be washed away from an arrow by wine or milk before use,
neutralising it.
MYKENAI
Goals: Gather allies among the centaurs against the Heraklides; keep
an eye on the Athenians and stymie their plans.
A small delegation from Mykenai has invited themselves along to the

Pelionion, led by the son of Thyestes, a nephew of king Eurystheus. The
king has sent them to recruit allies among the centaur tribes for an
attack against Athens, using their mutual hatred of the Heraklides.
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◆ Aegisthus of Mykenai (threatening, ruthless, clever; he/him) is the

son of Thyestes, uncle to King Eurystheus. His aim here is to create
ties with the warlike centaurs, and arrange an alliance against
Athens, using a shared hatred of Herakles as a basis. He has an
arrow dipped in hydra blood, gifted to him by his uncle Eurystheus,
which he intends to use in a dreadful scheme aimed at bringing
the centaurs into alliance with Mykenai against Athens and the
Heraklides. He may recognise Iolaos if he spends any time in his
company.
P H O L LO I ( Y E L LOW A N D B L U E )
Goal: Participate in the games in good faith; learn about human

guests.
The Pholloi are a small tribe found on the lower slopes of Mount Pelion
and the surrounding area. Herakles’ massacre of the centaurs took
place in their territory, and several of their number were slain both by
Herakles or the impassioned centaurs. They are one of the civilised
factions, having benefited from the good example of Kheiron over the
centuries he has been living on the mountain, yet the lure of their
animal instincts still lies below the surface. Like the Mount Pelion
centaurs, they wear clothes but favour a simple khlamys or himation
rather than a khiton.
◆ Pholus the Younger, son of Pholus (boisterous, good-humoured,

indulgent; he/him) lives in the moment, caring little for the past or
the future. The youngest son of the deceased Pholus, the death of
his father left him sorrowful, but he hides it well and does not
blame Herakles or the Heraklides specifically. He is one of the few
people who knows the exact details of the massacre—that the
centaurs attacked first. He also knows that his father died by
accident, but it will take major persuasion for him to risk the anger
of the other centaurs by talking about it.
◆ Amanestra (focused, competitive, naive; she/her) is the sister of
Pholus, and has had a relatively sheltered upbringing. She is
meeting some of the wilder centaur tribes for the first time, and is
not sure what to make of them. More surprising to Amanestra are
the humans at the Pelionion—she has never encountered a human
other than those who live with Kheiron who are mostly children or
youths. She considers herself an athlete and plans to participate in
all the races but will avoid the wrestling and pankration.
Vulnerable to flattery.
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E U VA N O I ( G R E E N A N D Y E L L O W )
Goal: Win the games by whatever means; remind centaurs that

humans cannot be trusted; if the Heraklides are exposed, tear them
apart.
This tribe of centaurs despise the Heraklides, and want vengeance for
the massacre of their people. They are one of the largest tribes, and
their delegation reflects this. They do not wear clothes, and eschew
armour and shields, favouring two-handed spears and bows. The
Euvanoi want to win—with an eye towards persuading some of the
other tribes to unite under their guidance rather than that of
Kheiron—and are prepared to step outside the rules of the contest to
do so.
◆ Nessia, daughter of Nessus (bitter, vengeful, proud; she/her). Her

father led one of the largest of the centaur tribes, and she is
extremely proud of her lineage. She hates the Heraklides, and
despises humans in general despite the fact she has had relatively
9 / THE PELIONION
little exposure to them.
NESSUS AND NESSIA

Myths are untrustworthy at the best of times, and trying to untangle
anything approaching a “timeline” is especially challenging when
converting them to a tabletop roleplaying game. While the rulebook
mentions Nessus as still being alive, it also suggests Herakles might be
dead. This scenario takes some liberties; it assumes Nessus is dead
(perhaps even quite recently) and his tribe is now being led by his
daughter Nessia. It also assumes the Centauromachy—the attack of
centaurs against the wedding of Hippodamia and Pirithous that is
thwarted by Theseus—is still in the future given it seems to take place
after that hero has had his own encounter with the minotaur. The
scenario also assumes that Kheiron is still alive, while most myths
suggest he died during the Pholus massacre, poisoned by one of the
hydra arrows.
It’s an easy matter to change this round to suit your own campaign;
Nessia can be replaced by (or accompanied by) her father without
needing to change anything in the scenario. The Centauromachy could
be changed to have already taken place, with or without Theseus’
involvement, and be just another reason why the centaur tribes are
angry with humanity. Kheiron is a little trickier, but one possibility is
that he has been poisoned by hydra-venom, but his superlative mastery
of the herbal arts allows him to endure the pain caused by the venom.
In this case, the GM can paint him as an invalid, barely able to leave
his cave, eager to try and mend the rift between human and centaur
before he finally surrenders his immortality.
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EURYTHIOI (RED AND BLUE)
Goal: Win the fighting games by whatever means necessary; celebrate

their strength; demonstrate the folly of resisting them to the other
centaurs.
The Eurythioi have a reputation for savage violence, and hardly seem
to care whom they fight. Some of the other centaur tribes are nervous
to see them attending the Pelionion but they seem to be on their best
behaviour. They are generally known to have the favour of the god
Ares, whom they depict as a heavily armed and armoured centaur. All
the Eurythioi have weapons and armour, mostly scavenged from their
slaughtered enemies, but they don’t normally bother with shields.
◆ Eurytus (savage, brash, bloodthirsty; he/him) leads the Eurythioi

and is a veteran of many battles. He doesn’t actually hate humans
particularly, he just thinks they are weak and centaurs should take
what they want from them and kill them whenever they desire. He
has little time for Kheiron, and sees the games as a way for his
tribe to demonstrate that they are the best centaurs. Eurytus is
open to an alliance with the Mykenai, but only in the short
term—he’ll betray them at a moment’s notice.
DIONYSOI (RED AND GREEN)
Goal: Indulge themselves; win some contests; remind the other centaurs
of the joy that comes from embracing their bestial nature.
The Dionysoi are servants and companions of the god Dionysos,

representing the out-of-control, hedonistic nature of the centaurs. They
barely remember their previous lives as river spirits, before Zeus
transformed them to make them suitable guardians for the young god.
Unlike the other tribes, they all have horns—between two and four
pairs of curling rams horns on the sides of their human heads—and
there is something goat-like about their horse-halves. They adorn
themselves with wreaths and flowers, and often paint each others’
bodies with bright pigments.
◆ Savena (relaxed, fun-loving, unpredictable; she/her) leads the

Dionysoi delegation, which is one of the smallest to attend the
Pelionion. She is quick to laugh, friendly, generous with the fine
food and drink her tribe has brought with them… but can change
without warning to be vicious, violent, and greedy. Savena
encourages interaction with humans, but there is always a veneer
of contempt underlying her apparent friendliness.
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GODS AND MONSTERS
KYNEGOI (GREEN AND BLUE)
Goal: Win the contests; demonstrate centaur superiority over humans;

try to remain aloof from factional conflicts.
The Kynegoi pride themselves on their hunting prowess and are

favoured by Artemis. They’re not interested in humans, initially paying
little heed to human guests, but anyone who makes a good showing at
archery or running, or performs a suitably themed poem or song, may
be invited to meet with them. They are all armed with bow and arrow,
and favour silver armbands and bracelets. They are quite slim
compared to other centaurs, their animal lower bodies clearly built for
speed and with a somewhat deer-like aspect.
◆ Nikaea (serious, plain-spoken, passionate; she/her) takes her

position as leader of the Kynegoi very seriously. A superlative
huntress, she has a somewhat academic interest in humans, and
disconcertingly treats them more like clever animals than peers.
She may engage in a discussion about why humans are inferior to
9 / THE PELIONION
centaurs—they are slower, they do not live as long, they are not as
strong, they are less capable of surviving in the wilderness. A clever
speaker, especially a woman, may be able to change Nikaea’s
mind although it is likely to be quite challenging to do so.
FA M I L I A R FAC E S
If the heroes have an existing relationship with Mykene or Athens, or
with the Heraklides, that could change the initial set-up for their visit
to Mount Pelion. The existing delegations could ask them to
accompany their envoys or support their mission. It’s also possible that
a different faction with a connection to the heroes has sent their own
delegation to the games. Another possibility is that a character from
the heroes’ home polis might want to accompany them—potentially
getting themselves into trouble in the process.
Some characters from earlier adventures might make an appearance.

If Athanaseus of Beotia survived in Palace of Leaves, he might have
ended up in the service of Aegisthus of Mykenai. Any of the heroes
that may later appear in The Doom of Katharonisi might be here
observing the games or supporting one of the human factions. If the
GM has run Bearing Gifts from AEGEAN ADVENTURES, the bombastic
and drunken playwright Pallas might have been invited to serve as one
of the judges for the artistic contests—creating opportunities to bring
out the conflict between rationality and indulgence, or to cause
additional trouble with the Dionysoi.
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VISITING MOUNT PELION
Kheiron has called the centaur tribes together on the slopes of Mount
Pelion in south-eastern Thessalia. Regardless of whether the heroes
arrive by sea, or travel overland (perhaps from Iolkos, or one of the
cities of the Khalkidikean peninsula) they will be met on the lower
slopes of Mount Pelion by a band of centaurs.
This initial encounter might be the first time any of the heroes have
seen a centaur, and is an opportunity to foreshadow some of the
conflicts to come. The nature of this first group may colour their
attitudes to the centaurs as a whole, and provides an opportunity to
create relationships with one of the factions attending the games.
◆ A pro-Khieron faction (Mount Pelion, Pholloi) will be guarded, but

relatively welcoming, asking what the humans’ business is.
◆ A more neutral faction (Dionysoi, Kynegoi) will be more suspicious,
questioning their presence on the slopes of Mount Pelion, and
demanding that they prove their good intentions.
◆ A pro-Nessia or anti-human faction (Euvanoi, Eurythioi) may
suspect the heroes of being members of the Heraklides, here to spy
on the centaur tribes ahead of a treacherous attack, and the
situation may quickly devolve into intimidation or even violence.
Heroes can use social skills to navigate this first encounter, with
difficulty dependant on their approach and which faction they are
dealing with. Successes allow them an escort to the site of the games,
while failure means the centaurs refuse to allow them to
proceed—perhaps even to the point of trying to drive them away.
If violence erupts, or the centaurs refuse to allow the humans to

proceed for whatever reason, the nymph Kharilko arrives riding on the
back of one of the Pelion centaurs. She quickly calms any conflict, and
offers the hospitality of her household and her husband to the visiting
humans. This solves the immediate problem, but does nothing to
alleviate underlying causes which continue to simmer and may explode
into violence again during the Pelionion.
THE PELIONION GROUNDS
Below Kheiron’s cave lies a sprawling camp, dotted with groves of trees
and bounded along one side by a wide mountain stream that provides
pure, fresh water. Unlike a human camp, there are few tents or
pavilions; if they need to shelter from the elements the centaurs do so
beneath trees or in caves. Individual tribes have claimed areas of the
Pelionion grounds, with wooden stakes marking the boundaries. These
stakes are wound with long ribbons that flutter and dance in the
slightest wind.
The centre of the Pelionion grounds, and the approach of Kheiron’s

cave, are marked with blue and white ribbons. This is where many of
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the contests take place, and where Kheiron will welcome the god
Apollo each morning. On either side of the avenue leading to the cave
are the camps of the Athenian and Mykenean delegations, along with
any other human factions in attendance. The higher slopes of the
mountain nearer the cave are also the site of permanent structures, a
smattering of finely made stone buildings and a beautiful open-air
shrine dedicated to Apollo stand amidst the cypress and olive trees.
There are plenty of wild animals on the lower slopes of Mount Pelion,
and centaurs not involved in the contests send out hunting bands to
bring fresh meat to the feast tables. Kheiron’s people ensure there is
plenty to eat and drink, but each tribe tries to outdo the others by
tracking and hunting numerous and dangerous beasts.
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BOOK OF HEROES
MEETING KHEIRON
On arriving at the Pelionion grounds, the heroes will be taken to meet

with Kheiron, either in his cave or at the shrine to Apollo. The old
centaur is outwardly friendly, but also hesitant to have more humans
attending the games. He is optimistic, but he knows how little some of
the tribes attending care for human beings.
AC: Kheiron, 56 The exception is a hero with the Kherion gift who has trained with the
centaur. They receive an effusively warm welcome, and their old mentor
is keen to hear about what they have been doing so far and why they
are attending the contest. They receive +1D to rolls to interact with the
Mount Pelion faction, and will always be able to gain an audience with
Kheiron himself.
This is an opportunity for the heroes to lay out how they plan to
achieve their quest. Two possible approaches are outlined here.
TA K I N G PA R T I N T H E P E L I O N I O N
The obvious route for the heroes to gain the crown they need is to win
one the contests. Yet these games are intended for the centaurs alone,
and Kheiron’s wider scheme may be damaged if a human participates.
Kheiron is initially cautious about the idea. Winning his support needs
an Insight (Diplomacy) or Cunning (Manipulation) roll, the difficulty
depending on the heroes’ approach. Suggesting that competing with
humans might help heal the rift between humans and centaurs is a
reasonable approach here. If one of the heroes is an athlete, or has
won glory in one of the games held across Hellas, they could suggest
that participation could help “legitimise” or lend extra weight to the
Pelionion.
Regardless of success or failure, Kheiron will not simply allow a human

to participate by fiat. The potential competitor will need to speak to
the centaurs and persuade them to allow their participation. Success or
failure on the initial roll determines whether Kheiron openly supports
their petition or not. Depending on the outcome, Kheiron’s approval
adds one to three bonus dice to attempts to convince the centaur
tribes to allow a human to participate, while a particularly poor
showing by the heroes may increase the difficulty as the host’s
disapproval is obvious to all.
Kheiron provides an opportunity to address the centaur competitors

the night before the games begin. Again, the difficulty depends on the
approach taken but the centaurs are much less interested in an appeal
to mend the rift. More effective will be appeals to the superiority of
centaurs over humans, or the kind of reverse psychology that suggests
the only reason not to allow humans to take part would be if the
centaurs don’t think they can beat them.
For the GM, this is an opportunity to introduce the heroes to the

various centaur factions. The Pholloi and the Dionysoi are not
especially bothered either way. The other three main centaur factions
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GODS AND MONSTERS
present their objections in turn. The Euvanoi bring up the massacre by

Herakles; the Eurythioi demonstrate their contempt for human
weakness; the Kynegoi question whether a human can even compete
with a centaur.
Depending on drama, each objection may need its own successful skill
roll to address, or they may be used to punctuate an extended roll,
with the hero doing the talking expected to address each concern with
their next roll (and if they cannot accrue sufficient successes in four
rolls, they fail the challenge).
It’s not vital for the adventure that a human hero or heroes take part;
they will still be able to observe the games and get involved in the
factional in-fighting.
OBSERVING
If the heroes don’t want to take part directly, then they can still
become involved. Kheiron will ask shrewd questions to determine why
they are really here. If they are honest about their reason for
9 / THE PELIONION
attending (to secure one of the crowns) he will want to know how they
plan to go about it. If they give him any reason to suspect they might
steal one of the crowns, he will increase the protection at the shrine of
Apollo, and make it very clear that thieves will be severely punished if
they are caught.
They may have already realised that all they need to do to win the
challenge is convince one of the victors to give them their crown, or
accompany them back to their quest giver. In this case, Kheiron will
caution that few centaurs are likely to be interested in cooperating
with the heroes in this regard, especially those with the drive to win at
the games.
As before an Insight (Diplomacy) roll may be used to determine how

well-inclined Kheiron (and by extension the Mount Pelion faction) is
towards the heroes. If they are friendly, it will be easier for the heroes
to gain access to the Pelionion, and they will be more likely to be
listened to if they present any concerns about wrongdoing by one of
the factions.
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THE PELIONION
Kheiron has patterned the Pelionion games after the Panhellenic

games—as suits a challenge that has brought representatives of many
centaur tribes together. It is his intention that this should establish a
new tradition in which the centaur tribes come together at regular
intervals to contend against one another.
The games are a combination of physical and mental contests. The

inclusion of philosophical debate has raised some eyebrows—while the
centaurs enjoy poetry and song, several of the tribes don’t consider
philosophy to be a particularly important thing. For his part, Kheiron is
gambling that the more formalised structure, and increased emphasis
on the arts of music, poetry, and philosophy, will help guide the
centaur tribes to more civilised ways.
The victor of each contest receives an olive wreath woven by Kharilko

and her handmaidens. The three events on the final day are deemed
the most illustrious of the Pelionion and the winners of the three
contests that take place on that day—the dolikhos, the pankration, and
the debate—will each receive a “golden crown”—a wreath of olive
branches and silphion blooms.
THE GREETING
No contests take place on the first day. This is an opportunity for the
tribes to mingle, and for everyone to get a feel for the event.
MORNING
Shortly after sunrise, Kheiron invokes the god Apollo, asking him to
watch over the “first Pelionion” and to inspire everyone to do their best
and show their prowess. Once he is finished, he addresses the crowd
and welcomes everyone to his home.
He reiterates that his guests must respect one another and that
nobody is to harm anyone else, including the humans. He also explains
again that strong wine will not be drunk during the Pelionion and that
each cup of wine will be diluted with five cups of spring water. Both
these points cause grumbling among the centaurs.
Heroes present for the welcoming can make Insight (Awareness or

Diplomacy) rolls to get a feel for the factions present at the games: for
example, they may find out that the Euvanoi and Erythioi are unhappy
about the presence of humans, or that both the Dionysoi and Erythioi
are angered by the requirement to drink only heavily diluted wine.
If the heroes are trying to participate in the games, after Kheiron has
given his speech he can call on them to present their case. There will
be another opportunity in the evening, and this gives the heroes the
chance to mingle with the centaurs and perhaps intuit the best
approach to take.
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GODS AND MONSTERS
AFTERNOON
Each of the tribes takes a turn introducing themselves to the others,

boasting of their achievements, and reiterating their intention to win
the games. This is a good opportunity for the GM to present the major
players, glossing over the minor tribes and calling out the
representatives of those factions that will play a part in events during
the Pelionion.
While the centaurs are presenting themselves, the heroes might spend
some time observing the centaurs or the two human factions.
NIGHT
A feast is held. This is an opportunity for the heroes to mingle with the
centaurs and their human guests, and learn more about the factions
and the underlying tensions. Insight, Cunning, and Cool rolls with some
combination of Awareness, Diplomacy, and Manipulation rolls might
be made to assess the competitors, and build on any information
9 / THE PELIONION
already gathered.
During the evening, the GM should split the heroes up, giving each of
them an encounter with one of the factions that suits their
temperament (for example a hero who likes to indulge their vices may
fall in with the Dionysoi and get the feeling they are planning
something for later in the games, while a cunning hero might be in a
position to overhear a suspicious exchange between Aegisthus and one
of the Euvanoi). The aim here is to make sure the heroes know there is
more going on than a simple competition and to start building
relations with the factions.
THE PELIONION PROPER
The games take place over three days. Each morning starts the same
way—Kheiron opens proceedings with a prayer to Apollo, after which
he proclaims the day’s contests. Every evening, Kheiron crowns the
winners of that day’s events, and, as night falls, another feast is held.
COMPETITIONS
For the most part, the centaur competitors in the Pelionion are not
given specific dice pools. In the case of the athletic competitions, the
tribes have chosen their finest competitors. Use the profile for athlete, AC: Athlete, 210
hunter, or Amazon champion with the centaur template as needed. AC: Hunter, 215
Defeating one of the centaur champions should be challenging; any of AC: Amazon Champion, 208
them may have the Favour of an appropriate God, or a talent suitable AC: Centaur, 225
to the contest at hand. For the artistic competitions, the orator or AC: Orator, 216
councillor profiles are both useful, again with the centaur template. AC: Councillor, 213
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D AY O N E
The first day of contests is set aside for the Javelin and Archery
contests, with Poetry in the evening. Assuming none of the heroes
participate, the Euvanoi win the javelin handily. The archery sees fierce
competition between the Kynegoi and Euvanoi, but the Kynegoi
eventually win. Eurytus or one of his companions makes disparaging
remarks about these contests—a real centaur should be close enough
to their foe to feel their blood splash on their skin, and to grind their
bodies beneath their hooves. None of the other factions are
particularly impressed by these words.
C O M P E T I N G I N D AY 1 E V E N T S
If any heroes have convinced the other competitors to allow them to
compete in the Pelionion, use the following stats for the best
competitors in the events. The Javelin event is a distance throw using
the Simple Opposition rules with Might (Accuracy: Javelin). The
Euvanoi competitor has a total of 8D. The Archery event uses the
AC: Target Target Shooting rules with Insight (Accuracy: Bow). The Kynegoi
Shooting, 159 competitor has 9D base and a Cool of 3. With 3 Aim Maneuvers this
AC: The Arts, 160 gives them 12D. The Poetry contest uses the rules for the Arts with the
Perform skill and best opponent has 5D.
The poetry competition is poorly attended, with only a handful of

centaurs taking part. If there is a poet among the heroes, they may be
invited to join Kleon Mylosios and the three judges from the Mount
Pelion faction. The presence of even one human on the judging panel
is a cause for some grumbling however.
The theme is “happiness”. The poems presented are fairly rustic, and
straightforward by the standards of Hellas. Only Pholus the Younger
and the Dionysoi contestant seem to have any real understanding of
the art, and the competition is very much between the two. The
Eurythioi do not take part, but have to be chastised several times for
heckling.
One of the Kynegoi performs a poem about hunting a deer; the

Dionysoi contestant half declaims, half sings an excellent poem in
praise of wine and good company that unsettles Kheiron a little and
makes some of the other centaurs restless; Pholus the Younger has
prepared an excellent piece of work about the joy of running with the
wind. There is a minor upset when the Euvanoi contestant presents a
bitter poem about treachery and murder that is clearly a
dramatisation of the Heraklean massacre and speaks to the pleasure
of taking revenge. It looks for a moment as if the judges are minded to
disqualify them, but in the end they remain silent.
Pholus the Younger is declared the victor, unless a hero participates.

Both the Euvanoi and the Kynegoi question whether the presence of a
human on the judging panel skewed the result; can a human really
understand happiness from a centaur perspective? Kleon Mylosios is
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on the verge of fainting when confronted, but makes a case that

poetry is a universal art and while he may not be a centaur, he is
capable of judging any poem on its own merits.
After the contests are done, another feast is held. The Dionysoi are
particularly raucous, singing bawdy songs and reciting lewd poetry
unsuitable for the formal contest. They ignore Kheiron’s injunction to
dilute their wine five-to-one; observing them closely shows they are
pantomiming three of the five required cups of spring water.
Admonishing them, or bringing this to the attention of Kheiron, may
lead to a confrontation. An extended Cool (Diplomacy) or Cunning
(Manipulation) roll needing five successes may be required to avoid an
incident. If the heroes leave it until later in the evening to address the
matter, then the required successes increase to seven. A failure here
will likely earn any hero involved the enmity of the Dionysoi, or lead to
a short-lived and hopefully non-lethal burst of violence that sees some
of the drunken centaurs barred from further participation in the
Pelionion.
D AY T W O
9 / THE PELIONION
The welcoming of Apollo is followed by the Dionysoi calling out for the
other gods to also be honoured; the Kynegoi and Eurythioi agree.
Kheiron may be rattled by this; Kharilko may step in swiftly to soothe
any angry words and to explain that anyone wishing to honour the
other gods is free to do so.
Anyone paying attention to the Dionysoi may get a bad feeling about
this. Through the course of the day, they become more raucous. They
are preparing something, and a hero who investigates will discover
that they have three large amphorae of wine sealed with wax that they
have hidden in their camp. This is undiluted wine—worse, it is incredibly
potent wine blessed by Dionysos. Exactly the kind of wine that lead to
the massacre of centaurs by Herakles.
This initial disruption is followed by the announcement that today’s

events include the sprint in the morning, wrestling in the afternoon,
and music in the evening.
Sprint is a short run, and one where even a superlative human is

unable to compete with a centaur. One possibility is that a human
competitor may be able to convince the judges to allow them to
compete on horseback—allowing them to substitute Ride:Horse for
Athletics. The centaurs openly mock the weakness of anyone who needs
to use a horse, and demonstrate disdain for the creatures themselves.
Mute, brute animals enslaved by humanity, most of the centaurs view
them as just another prey animal to be killed and eaten.
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Competing in the sprint event on horseback requires a Reflexes (Ride:
Horse) roll with a -2D penalty due to the rough terrain of the track.
The victor of the contest is the first to roll 6 successes and the Kynegoi
competitor is rolling 9D, including the penalty. Any human attempting
to compete on foot suffers a further -4D penalty.
AC: Wrestling, 154 The wrestling contest uses standard wrestling rules. If only one hero is
competing, they fight a single bout against the Eurythioi champion.
AC: Wrestler, 224 Use the Wrestlers profile with +1 Might from the Centaur profile, Brawl
4 and give them the Dirty Fighting talent. They make judicious use of
the Jab phase one Action. If more than one hero enters, pit them
against Wrestlers with the +1 Might from the Centaur profile in the
first round. If any heroes make it to the second or further rounds one
should compete against the Eurythioi champion while the others
compete against more centaur Wrestlers or each other. Continue until
a victor is determined.
The music contest uses Simple Opposition using * (Perform: any

instrument) versus the Dionysoi champion who rolls 11D.
The sprint contest is won by the Kynegoi again, while the Eurythioi
make a poor showing and are bad sports. The wrestling is won by the
Eurythioi. The final round comes down to a contest between their
champion and one of the Pholloi, and leaves the latter with two broken
legs.
Unlike the poetry the previous evening, the music contest is well
attended and all the tribes take part. There is much less objection to
Kleon Mylosios on the judging panel. The Dionysoi contestant wins;
nobody else even comes close and she finishes with a paean to
Dionysos, and to the joys of hedonistically indulging one’s vices that
meets with great acclaim from the audience.
After the music competition, there is another feast. Shortly after it

begins, the Dionysoi bring out their three large amphorae of undiluted
wine, and suggest a toast to Dionysos, perhaps quoting any earlier
assurances that there is nothing wrong with honouring the gods. The
heroes are the only people in an easy position to intervene.
Two possible approaches to head off disaster would be admonishing

the centaurs and reminding them they are guests of Kheiron with a
challenging Cool (Diplomacy) or Cunning (Manipulation)—or trying to
prevent the centaurs from giving in to their bestial urges through the
use of music or bold oratory using Cool (Perform) or Might
(Diplomacy).
If the Dionysoi succeed in sabotaging the feast, the gathered centaurs

become more drunk and belligerent. Kheiron and his allies try to keep
the peace, but fighting breaks out between the tribes and may spill
over into the human encampments. This is an opportunity to confront
the heroes with the inhuman savagery to which most centaurs are
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susceptible. It might also provide just the distraction needed for a plan
to steal one of the golden crowns.
The worst-case scenario here is that Aegisthus could take advantage of

this to reveal the presence of the Heraklides among the Athenian
delegation (assuming he has realised who they are). If this happens,
the drunken centaurs will attack the camp to murder the Athenians
and the Mount Pelion faction will be unable to single-handedly prevent
them from doing so. Unless the heroes intervene, the Pelionion will be
over, ending in a complete disaster from Kheiron’s point of view.
With cunning and insight it is easier for a human athlete to compete
against the centaurs in the dolikhos, in a way that it isn’t in the sprint.
Heroes competing on foot have the opportunity to plot out a path
down the mountain using Cunning or Insight (Survival) rolls
beforehand and may find an easier route than the centaurs are able
to traverse. Each success reduces any penalties from skill checks used
in the upcoming race by 1D. Otherwise, the dolikhos uses the standard AC: Dolikhos, 159
9 / THE PELIONION
rules for the event with a -3D penalty for the terrain. The best centaur
competitor is rolling 9D, including penalties. As with the sprint, a
human competitor on foot is at a severe disadvantage and incurs a
further -3D penalty per roll.
For the pankration, any heroes entered should compete against

Wrestlers with the Centaur profile applied with a selection of Wrestler
career talents or specialisations added. Centaur competitors will rely
on their kick attack for Strike Actions, doing a base damage of 4 for
Might attacks and 2 for Reflexes. A centaur that throws its opponent in
phase two can use its trample attack in phase one. If there are several
hero victors for the second round, pair them off with each other and
have any extra face Eurytus. Eurytus uses Wrestler stats with the
Centaur profile but has a Might 5, Brawl 4, and Endurance 8. He has
the Mighty Blow talent and one rank in Dodge. He won’t surrender to a
human contender and will only begrudgingly accept their surrender,
preferring to kill them if he can.
Anyone entering the philosophy debate can roll a simple opposition

against an opponent with 5D, but after this the event devolves into
Nessia’s oratory. See main text for details.
Sidebar to the sidebar: As persistence hunters humans can compete

against horses in long distance races. Humans have a few advantages
over four-legged mammals such as sweating to regulate body
temperature and our gait not being tied to our breathing. When a
four-legged animal moves its front legs forward it extends its chest so
it has to breathe in whereas a running human can breathe at the pace
they need to irrespective of their stride, giving a slight advantage. Of
course, this doesn’t mean a human will always beat a horse given a
long enough race, the horse is still incredibly fast and strong, but it is
possible. How would this apply to a centaur, who has two sets of lungs?
It’s up to the GM and players to decide.
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D AY T H R E E
Assuming the games continue, the final day of the Pelionion begins
with a prayer to Apollo, and the announcement of the dolikhos in the
morning, philosophy in the afternoon, and the pankration in the
evening. These are the three contests that reward golden crowns; if the
heroes’ plan is to win one, they must triumph in one of these games.
The dolikhos is an endurance race. There is no course as such; rather

the contestants must run to a certain grove lower down the mountain;
claim an olive branch from one of the attendants there, and then
return to the Pelionion fields. There are trails that make for easier
travel, but there are multiple routes.
If a human is taking part they will find it very difficult to compete with
the centaurs; their endurance is beyond that of a mortal (as evidenced
by their Swift quality). As mentioned above during the sprint, one way
for a hero to compete might be on horseback. Otherwise, they are
again at a severe disadvantage, suffering a -2D penalty to each roll.
During the dolikhos, some of the Eurythioi try to sabotage their

opponents by stringing ropes across some of the trails at ankle height.
If heroes don’t intervene, the Eurythioi contestant wins the dolikhos,
and both the Pholloi contestant (Amanestra) and the Kynegoi
contestant are badly hurt. By the time they limp back into camp,
there’s no sign of the rope and little time for a proper investigation
before the next contest. Tempers are clearly starting to come to the
boil. If the heroes manage to stop the cheating, then the Kynegoi wins
with Amanestra in second place.
The penultimate contest is the pankration. The centaurs create a

great circular arena, and their champions contend with one another
one-on-one. This contest brings the brutality of the centaur tribes to
the fore and there are many injuries amongst the competitors. The
Eurythioi expect to win—Eurytus is their champion. He dedicates every
victory over a “weaker foe” to Ares. He fights savagely, and is clearly
trying to whip the crowd up into a frenzy as he fights, extolling the
might of his tribe and the right of the strong to take what they want
from the weak.
Without the heroes’ involvement the final bout is between Eurytus and
the Euvanoi contestant. Eurytus wins again but this time instead of
demonstrating his savagery, he invites the defeated centaur to join him
and his tribe in making war against the humans who wronged
them—proposing an invasion of Athens. Alternatively, if he faces a
human opponent, he refuses to stop fighting regardless of who has
won, attempting to kill his foe.
Kheiron steps in again to end the discussion or the final bout before it
goes too far, loudly chastising Eurytus for breaking the spirit of the
Pelionion, but the savage centaur laughs at him. “Your name is fading,
old man, whereas mine is on the lips of everyone here!”
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The atmosphere souring, the final contest is the debate: the

philosophy competition. Several of the tribes struggle to care about
this. Surprisingly both the Eurythioi and the Euvanoi seem very
engaged. The winner will be declared by the acclaim of the centaurs
present, an attempt by Kheiron to get the other tribes invested in the
debate. Unfortunately this may turn out to be a miscalculation.
The initial topic of discussion about what service to the gods entails,
and it is clear that nobody is really interested in it. Then Nessia of the
Euvanoi suggests that the problem is that the topic of discussion is
irrelevant. The real question that should be discussed is whether the
centaurs should make war on the humans and the children of Herakles.
Kheiron tries to keep the discussion on topic, but fails. The centaurs are
much more interested in this argument.
Intervention by the heroes requires passionate oratory: the centaurs

are unlikely to be moved by logic or threats. It’s possible that a bold
hero might speak up even if they are not officially allowed to do so,
possibly urged on by one or more of the human or pro-human NPCs.
9 / THE PELIONION
The difficulty of swaying the centaurs to a neutral or positive stance
towards humans depends on how the Pelionion has gone to this point
and how the heroes have related to the various factions. One
possibility is to encourage the debate back on track, to the discussion
of service to the gods. Alternatively, a hero may offer support to one
of the other centaur speakers with a less extreme position on the
matter at hand. The Pholloi and Dionysoi both argue that there are
merits to peaceful ties with humans, and the Kynegoi position of simply
avoiding humans is still preferable to all-out war. If a hero does
become involved in the debate, this might allow for a free-for-all in
which Aegisthus throws his support behind the Eurythioi, appearing to
support their “might makes right” philosophy, perhaps even publicly
proposing an alliance with the Mykenai).
If the heroes don’t intervene in the debate, either Nessia or the

Eurythioi contestant wins the “philosophical discussion” and Kheiron will
be forced to crown them, giving more credence to their arguments. If
this happens the majority of the centaur tribes are enthused about the
idea of hunting the Heraklides, or raiding the human poleis across
Northern Hellas.
TRAGEDY
While there are several versions of the death of Kheiron, they broadly
agree that the cause was an arrow dipped in the blood of the hydra by
Herakles. The actual timing of his death varies, but one possibility is to
have the immortal centaur meet his fate—or at least the early stages
of it—during this quest if the heroes do not intervene.
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THE CLOSING CEREMONY
The first Pelionion ends with Kheiron awarding the winners of the
dolikhos, pankration, and philosophy with the golden crowns as the sun
is setting. He takes the opportunity to praise Apollo once more, and to
announce that the Pelionion will become a regular celebration of
centaur culture. The response from the gathered tribes depends
entirely on how things have gone up to this point.
At this point Aegisthus of Mykenai enacts his final stratagem: to rouse

the centaurs against the Heraklides he arranges for the assassination
of Kheiron with the hydra-venomed arrow he has brought for this
purpose. If heroes have not uncovered his scheme an Insight
(Awareness) roll may allow them to notice someone is missing, such as
a prominent centaur of the Euvanoi or Erythioi tribes or Aegisthus’
bodyguard.
Depending on the dramatic needs of the scenario, they might get a

glimpse of the assassin drawing their bow just before they let it loose,
or there might be a tense extended roll requiring 8 successes within
three rolls to locate the archer. The assassin will need to be dealt
with—ideally they should be captured so they can confess their intent.
Another possibility is that someone may be able to shout a warning or
throw themselves in the way at the last moment, potentially sacrificing
their own life. Good candidates include Kharilko, Phollus the Younger,
Kleon, or Iolaos; or a hero may be able to deflect the shaft at the last
minute with a shield or the Bodyguard talent.
If Kheiron is shot, there will be an uproar from the centaur tribes; it will
quickly become clear he has been poisoned with hydra venom. One of
the centaurs allied with Aegisthus (or the Mykenean himself at a
pinch) can point out this means the Heraklides are behind the
attack—quickly whipping the assembled tribes into a fury. It will no
longer be safe for any human on the slopes of Mount Pelion, although
Kheiron’s faction and the Pholloi may be able to delay their angry kin
long enough for their guests to escape down the mountain.
If Kheiron is saved from the attack, there will still be anarchy (during
which time Aegisthus and the Mykenae might flee the Pelionion
grounds depending on how things have turned out), but Kheiron will
be able to prevent any violence. How hard this proves to be will again
depend on what has happened during the Pelionion, and how much
ground the anti-human factions have managed to claim.
All in all, this could be an ignominious end to the first (and potentially
last) Pelionion. It might also provide a great opportunity for heroes to
grab one of the golden crowns and simply make a run for it, perhaps
pursued all the way down the mountain by angry centaurs.
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GODS AND MONSTERS
T H E G O L D E N C ROW N S
The victors of the first two days’ events are crowned with olive wreaths
woven by Kheiron and his wife. The victors of the final day—the
endurance race, the pankration, and the philosophical debate—receive
special “golden” crowns woven by Apollo himself. These wreaths of olive
branches are wound with silphion blooms, the yellow-flowered miracle
plant sacred to Apollo, said to possess remarkable medicinal qualities.
As long as they are in possession of the one who won them, they will
neither wilt or lose their beauty for a full year.
During the Pelionion, all the wreaths and crowns are kept in the shrine
of Apollo near Kheiron’s cave, guarded day and night by two
champions of the Mount Pelion tribe. Use the peltast captain profile AC: Peltast
but with the additional centaur qualities. These champions do not wear Captain, 218
armour other than a helmet (reduce their Armour to 2), but have the AC: Centaur, 225
Favour of Apollo.
Should a fight break out, the centaur champions call for help. Twice
during a battle, as a Maneuver, the GM may spend a point of Hubris
9 / THE PELIONION
to call in a minion group of four additional centaurs. Use the peltast
profile, again with the centaur qualities, and they are also armed with AC: Peltast, 217
helms (Armour 2). Once violence breaks out, time is of the essence. If it
is clear they are overwhelmed, the centaur guardians flee, rousing the
entire camp to deal with interlopers. It is likely the adventure ends with
the heroes fleeing down the mountain pursued by centaurs through the
wilderness until they are able to shake them off or reach safety.
Sneaking past the guards to get to the crowns is made more difficult
by the braziers that burn constantly in the shrine during the night. A
formidable Cunning (Athletics) roll is needed to avoid attracting the
guards. A successful theft will not be noticed until morning. As the sun
rises, Kheiron himself will come to the shrine having received a cryptic
warning in his dreams. If he notices one or more crowns missing, he
raises the alarm. During the morning ceremonies, he urges the guilty
parties to come forward, questioning anyone who he suspects might
have a reason to steal the victor’s crowns. The Pelionion will
continue—but there will be dissatisfaction that one or more of the
victors will “only” receive an olive wreath.
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BOOK OF HEROES
G O L D E N C ROW N S
The crowns have the Glorious 2 property. By plucking all the silphion
flowers from a crown, a hero can gain two automatic successes to any
check using the Medicine skill, or grant a group of companions a bonus
+1D to the next Vigour check they make before the next sunrise. The
crown is destroyed in the process. Insight (Medicine or Lore) while
examining the crown reveals the properties of the flowers.
If the crown was gained legitimately, these properties remain for a

year (or until used in the case of the silphion flowers). Otherwise they
quickly begin to wilt and lose their lustre, lasting barely long enough to
get them back to the quest giver before losing all their properties.
Glorious (Passive): In social interactions where mastery of athletic or

artistic challenges might impress someone, the character adds dice
equal to the Glorious rating to all relevant skill checks.
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GODS AND MONSTERS
C O M P L I C AT I O N S A N D C O N S P I R AC I E S
During the Pelionion, there are four main schemes in operation, and
several floating events that might be used to create drama. The GM
can weave these complications into the narrative of the Pelionion,
interspersing them with the events listed for each day. The key is to
ensure the heroes know that there is more going on here than a simple
contest, and to either distract them from their goal of securing the
golden crowns or provide action for the heroes who aren’t taking part
in the contests.
THE SCHEMES OF MYKENAI
Aegisthus of Mykenai attempts to gain allies among the centaur

tribes, and frame the Heraklides as assassins using his poisoned arrow.
Scenes involving his schemes might include Aegisthus (or one of his
agents) doing things such as:
9 / THE PELIONION
◆ Making gifts of weapons and armour to one of the more warlike
tribes (the Eurythioi, Euvanoi, or Kynegoi); centaurs from one of
those tribes clearly having new accoutrements of human
manufacture.
◆ Meeting confidentially with Eurytus or Nessia. Eavesdropping
might reveal the basic plan (ally against Athens in particular), with
higher successes revealing more (the fact that Mykenae have a
foolproof plan to help rile up the other centaur tribes).
◆ Studying “Outis of Athens” with a thoughtful expression, perhaps
asking (or sending agents to ask) precisely who he is. Interrogating
Kleon Mylosios before or after one of the artistic contests.
◆ Inviting a cunning hero to share a cup of wine and talk about the
Pelionion and the tribes, sounding them out as a possible agent or
traitor.
◆ Revealing that “Outis” and Makaria of the Athenian delegation
are part of the Heraklides at the worst possible moment, rousing
the centaurs against them and requiring heroes to work fast to
avoid violence and murder.
◆ In the privacy of his tent, studying the hydra venomed arrow,
hands behind his back, perhaps discussing it in veiled terms with a
trusted attendant. A hero who sneaks into the tent might also find
the arrow hidden among his things in a long box.
◆ On the final day, conspiring secretly with the assassin who will
make the attempt to kill Kheiron, or handing over the box with the
poisoned arrow inside.
Ultimately, Aegisthus wants to cause trouble for Athens, but is much

more interested in ensuring he gets home safely. If he has to, he will
threaten dreadful reprisals from Mykenai if he is harmed, but he is not
above leaving his entourage behind to die while he escapes.
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BOOK OF HEROES
THE HERAKLIDES DIPLOMACY
“Outis of Athens” (Iolaos) and Makaria want to mend the rift with the
centaurs. They know a little of the real story of what happened with
Phollus, but not the details. They know they have to be careful; the
unexpected presence of Aegisthus and the Mykenae has them worried.
Scenes relating to their agenda might include:
◆ Makaria meeting privately with Kheiron out of the way, possibly

during the feast. Eavesdropping catches references to “your
father”, “the unfortunate situation”, “the truth”, and warnings about
Nessia and the Euravoi.
◆ “Outis of Athens” avoiding the Mykenai, perhaps pulling his cloak
over his head or leaving suddenly when Aegisthus or one of his
agents arrives.
◆ Makaria practising archery near some centaurs, who amble over to
observe. A cautiously friendly conversation breaking out between
them about technique. One of the anti-human faction centaurs
may try to break this detente up—heroes can intervene to prevent
them from doing so.
◆ A tipsy “Outis” telling the tale of Herakles and the Lernaean
hydra; being chastised by Makaria. Insight (Awareness or
Knowledge) realises he is telling the story as if he were personally
present. This is also an opportunity to mention Karkinos—the crab
sent by Hera to interfere in the fight—as foreshadowing for The
Doom of Katharonisi. It’s also an opportunity for one of the
Euvanoi to overhear the discussion, leading to a confrontation.
◆ Kleon Mylosios trying to persuade “Outis” that he should replace
him on the judging panel for the poetry or music, and Makaria
telling him the matter is settled in no uncertain terms and to
remember that Outis is “nobody special.”
◆ Outis inviting one or more heroes to break bread with him, and
encouraging them to share their opinions of the centaur tribes,
especially the Euvanoi.
◆ Makaria petitioning for a meeting with Nikaea of the Kynegoi with
tribute of Athenian silver jewellery; “Outis” delivering fine fabric to
the Phollioi; amphorae of olive oil gifted to the Euvanoi being
trampled underhoof.
◆ Outis meeting Phollus the Younger and, thinking they are
unobserved, trying to get the centaur to share what he knows
about the Heraklean massacre. Eavesdropping reveals Phollus’
reticence based on the fact that nobody cares about the truth and
the other centaurs will be angry if he tells what he knows.
Ultimately, the truth about who the Athenians are is likely to come out,
and the heroes may have their work cut out for them preventing a
murder, or helping Iolaos and Makaria to get to safety.
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GODS AND MONSTERS
THE DIONYSIAN DISRUPTION
The horned Dionysoi are preparing to disrupt the Pelionion with their
unwatered, potent wine, at the urging of Dionysos. Their “plan” such as
it is, comes to a head on the second day of the games, when they
bring their amphorae to the feast. Before that, they might try to
sabotage the Pelionion—and attract the attention of heroes in a
number of ways:
◆ Inviting either Outis or Kleon to regale them with tales,

intentionally sharing their strong wine with him, encouraging him
to tell inappropriate stories. The heroes may need to step in before
they say or do something foolish that gives the game away.
◆ Mocking one of the Pholloi (perhaps Amanestra) for the
affectation of clothing, and denying her heritage by trying to pass
as a human. If challenged, they turn their scathing oratory on the
humans, questioning why they are present and belittling their
“weak stomachs.” Ultimately, they claim it is “all in jest” but anyone
interacting with them should be left in no doubt as to the
9 / THE PELIONION
seriousness of their jibes.
◆ Making music and reciting poetry, inviting anyone else—centaur or
human—who wants to join them. Revelling in the sheer joy of the
art, generous with their praise and encouragement of even the
weakest performance, entirely at odds with any earlier bullying.
◆ Conspiring among themselves, making veiled references to their
“treasure” and laughing as nobody else gets the joke.
◆ Challenging a hero to debate some cultural or ethical mores. Why
are human spouses concerned with faithfulness? Why so obsessed
with working when you can drink and play? Why live in the filthy
polis when you could live in the clean wilderness? Aren’t centaurs
closer to the gods because they live more “freely” than humans do?
◆ Cornering anyone who has the favour (or disfavour) of Dionysos
and trying to get them to participate in their excessive
celebrations. A hero who can make a hard Might (Vigour) or
Cunning (Manipulation) roll to avoid getting black-out drunk may
learn of their real agenda, or the location of their strong wine.
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BOOK OF HEROES
T H E E U RY T H I O I D O M I N AT I O N
The centaur champion Eurytus wants to make war on the polies of

Northern Hellas, ideally with the support of the other tribes. There are
several points during the games when this agenda comes to the fore,
but heroes might also encounter it in other ways.
◆ Being aware of Eurytus glaring at them, lip curled in a sneer, then

saying something to his cronies that makes them burst out
laughing.
◆ Some Eurythioi try to intimidate a single hero, or a pair of heroes,
telling them their kind is not welcome here and they should leave
before they get hurt.
◆ Challenging a human to a “friendly” contest that favours a centaur,
or for which the human is entirely unsuited. Alternatively, a hero
might come upon them trying to goad an NPC like Kleon Mylosios
into wrestling. If the human agrees to the challenge, they’ll take
every opportunity to injure them.
◆ Eurytus meeting with Nessia in private. Eavesdropping reveals that
he is trying to inflame her hatred of the Heraklides to include all
humans. Being spotted here may lead to a dramatic chase between
a hero and some Eurythioi keen on silencing them.
◆ One of the Eurythioi intimidating Phollus the Younger and warning
him that if he doesn’t keep his mouth shut, something bad will
happen to him or his family.
◆ Eurytus holding court with centaurs from several tribes, explaining
how centaurs are stronger than either wild beasts or humans
because they are greater than the sum of their parts. They are
truly the favoured of the gods and they should take what they
want from humans.
◆ One of the Eurythioi trying to persuade a member of the Kynegoi
to their creed, being rebuffed, and potentially becoming violent.
These two characters might be involved in the attempted sabotage
of the dolikhos on the final day of the Pelionion.
F LOAT I N G E V E N T S
Hunting “accident”: There is plenty of game on the lower slopes of

Mount Pelion, and small bands of centaurs issue forth to hunt boar
and deer throughout the games. This presents an opportunity for
“accidents’’ away from the eyes of the hosts. In addition to a blatant
attempted murder, someone might be injured by an “accidental” arrow,
fall afoul of a deadfall, or end up facing an unexpectedly dangerous
animal. The Eurythioi or Euvanoi are obvious culprits for such activity,
but the Dionysoi might arrange trouble for anyone who has opposed
their plans for a wild party, and Aegisthus might persuade almost
anyone that the heroes need to be taught a lesson.
One of the anti-human factions might encourage heroes to go hunting

or to join an existing hunt with the intention of launching an ambush,
leading them into a fight with an outraged boar or perhaps even
something more dangerous, a giant serpent for example.
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The heroes themselves need not be the target of such an attack. A

favourite to win an upcoming contest, or someone who has been too
friendly with one of the human factions, may be forced to withdraw
due to a broken leg, or disappear while hunting.
A Meeting with Apollo: A character who has the favour of Apollo—or

one who has his disfavour—might have an encounter with a young
man, golden hair tied back in a ponytail. The god does not reveal his
identity, but engages the character in spirited debate of some kind.
The god will be particularly interested if a human is taking part in the
Pelionion: is this appropriate given the games are meant to be for
centaurs alone? This is a chance to impress the god and either win his
favour, or encourage him to set a task that may remove his disfavour.
This encounter is especially appropriate after the heroes have helped

to stymie an attempt to disrupt the Pelionion (stopping the Dionysioi
causing a drunken revel, or preventing Aegisthus of Mykenai from
turning the centaurs against the Heraklides). Depending on the
situation he might leave them with the gift of an olive branch. While it
appears mundane, it is actually a blessing—it will never wither and the
9 / THE PELIONION
player may use it once to invoke Apollo’s favour for their character or
another PC.
If the heroes actively support the Pelionion and stymie the attempted
assassination of Kheiron, Apollo may appear (incognito) to thank
them. One possible reward might be a fourth golden crown, especially
if the heroes have clearly done their best to win one legitimately, while
acting in a way Apollo approves of. The GM should be careful with this
kind of reward, however. It risks undermining their efforts and
suggesting that their plans were pointless. It should be clear to the
players that they’ve won the crown because of their hard work.
S E C U R I N G A C ROW N
If the heroes win one of the contests on the final day of the games,
Kheiron bestows a golden crown on them. There is some grumbling
among the centaurs—many feel that they have been shamed by the
humans and Eurytus in particular may play up this attitude. Anyone
involved may also gain 1 Hubris—Apollo intended this to be a contest
for centaurs after all—unless someone has addressed the god’s
concerns during an encounter with him.
Another way to achieve their goal is for the heroes to persuade one of
the winners to accompany them to visit the quest giver; there is no
requirement that the crown be handed over. This will obviously only be
feasible if the winner is one of the pro-human (or at best human-
neutral) factions, and made easier if the heroes have befriended the
centaur beforehand.
If the heroes steal one or more of the golden crowns, they have just
about enough time to get it to their quest giver before it wilts and
fades. Once news of their crime spreads they will incur the wrath of the
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centaurs faction, and it may also damage their standing with anyone
on the receiving end of centaur violence after the Pelionion. In both
cases, this may affect diplomatic relations for their polis. Worse,
anyone instrumental in stealing the crown will likely have gained the
disfavour of Apollo; everyone involved gains 2 points of Hubris as well.
TRIUMPH OR DISASTER
Bringing the crown—even if it is worn by a centaur—to the quest giver

completes the quest. Everyone involved receives 2 Glory. Any hero who
took part in one of the Pelionion contests receives an additional Glory,
and if they actually won their contest they receive an additional point
of Glory! These latter two awards should apply even if the heroes did
not manage to secure one of the golden crowns.
Whatever the outcome, events at the Pelionion will change the political
climate in Northern Hellas. If war erupts between centaurs and
humans it will almost certainly start with an attack on Athens, one that
the polis may not be in a good position to turn aside. Violence spreads
quickly, with other poleis on the mainland embroiled on one side or the
other. If Mykenai is sponsoring the centaurs, at some point they will
turn against the other poleis of Central Hellas, which will make the
situation even more complex.
If Kheiron’s plan was a success, however, the centaurs may become

more amenable to interaction with their human neighbours. Tentative
trade may take place, especially with the Pholloi, and perhaps even
with the Kynegoi or the Dionysoi. If the rift with the Heraklides was
mended, Athens might even have secured powerful allies, especially if
the machinations of Mykenai were exposed.
Regardless of what happens, stories of the heroes’ involvement are

likely to spread far and wide. People across the Aegean will have
heard of them and their exploits on the slopes of Mount Pelion.
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CHAPTER 10
T H E D O O M O F K AT H A RO N I S I
BOOK OF HEROES
Defeat the titanic crab that threatens the kingdom of Katharonisi.
C O N T E N T WA R N I N G
Emotional manipulation (Zeus being Zeus), unfair punishments,
disaster, mob violence, young man in peril.
BAC KG RO U N D
The island kingdom of Katharonisi is being devastated by an immense

creature that comes out of the sea. Each time it emerges, it annihilates
a coastal village, then returns to the depths. Some believe this is the
crab Karkinos, but that monster is dead (crushed beneath the heel of
Herakles as he fought the Lernaean Hydra) and set among the stars
by Hera. The consensus is the fisherfolk of the otherwise quiet and
pastoral island must have incurred the wrath of Poseidon and anyone
with sense will stay out of the way until the matter resolves itself.
The beast threatening Katharonisi is Mekathiron, a child of Okeanos

and Tethys and its presence is nothing to do with Poseidon. It has been
sent by Hera to punish Queen Iophornis, the ruler of Katharonisi, who
has given sanctuary to Athenaeus, a prince of the Ionian Islands.
Unfortunately for the island, the young man was wooed by Zeus,
disguised as a foreign prince. The King of the Gods has already moved
on to his next conquest, but Hera is livid and is taking her frustrations
out on the young man—and on anyone who provides a home to him.
Insight (Knowledge) knows the story of the Lernaean Hydra, and how
Hera sent the crab Karkinos to distract Herakles during his fight. Some
versions of the story suggest the creature was a tiny crab that pinched
Herakles’ toes, but the more commonly told version describes it as an
armoured abomination the size of a wagon. Herakles defeated it with
his bare hands, cracking its shell with his fists and tearing its pincers
off, before returning to the more pressing fight with the hydra.
Insight (Lore) knows that the various giant crab-beasts of Hellas are
associated with the titans Okeanos and Tethys, and with the
abomination Mekathiron who is said to be the parent of all such
creatures including Karkinos. There are stories of their shells being
used to create armour or shields, wielded in ancient days by champions
of the two titans, and in more recent times by heroes favoured by
Poseidon or the okeanids (nymphs who are themselves daughters of
Okeanos and Tethys). With additional successes, either roll might
reveal the connection between Hera and the two titans. When Zeus
was engaged in deposing their father Kronos, Hera was sent by her
mother to the safety of Tethys’ domain. The pair have a close familial
tie, of foster-mother and daughter. This information could serve as the
basis for an argument to persuade Hera to show leniency to princess
Athenaeus—drawing parallels with her own parentage and experience
as an exile. Once Mekathiron is dealt with, of course.
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THE GODS
Hera: The Queen of the Gods is the reason that there is a giant crab
rampaging along the coast of Katharonisi. Her curse on Athenaeus
requires her to punish anyone who gives the youth sanctuary, but her
heart isn’t entirely in it. She cursed Athenaeus in haste, but regrets
making it so open-ended. She is starting to see Athenaeus as another
foolish young man who gave in to the wiles of her husband. Still, she is
not prepared to lose face by failing to enact her curse and so asked
her foster-mother Tethys to send Mekathiron to destroy Katharonisi.
Her servant on the island is Basilea, who is caught between love for
her goddess and the love for her Queen. Anyone with the Favour of
Hera will find her conflicted and, if they can save the island, they may
be able to persuade her to relent in her punishment of Athenaeus.
Hestia: The people of Katharonisi have the favour of the oldest
1 0 / T H E D O O M O F K AT H A RO N I S I
Olympian, although nobody makes much fuss about it. Queen
Iophornis’ grandfather Klypion won her favour by protecting the
common folk under his rulership, and both his son and granddaughter
have continued his legacy. While mild in nature, Hestia is unhappy to
see the destruction of the homes and families of Katharonisi—angry
even. She has also become tired of the constant bickering between her
brother and sister: Zeus and Hera are meant to be the ideal patriarch
and matriarch but set a terrible example. Her agent on the island is
the nurse Zestasia, and anyone with her Favour will be urged to find a
solution to the real problem: the curse laid on the boy by the angry
goddess. This will only happen after they’ve seen off the giant crab.
Athena: Wise Athena favours Queen Iophornis, and is frustrated by

the way the mortal has put herself at odds with the Queen of the
Gods. She won’t interfere directly, but anyone who has her Favour may
be gently nudged in the direction of General Sideron. The goddess
herself is torn between the foolishness of opposing Hera, and the
foolishness of blaming a young man for falling for the wiles of a god.
Poseidon: The god of the sea is mostly annoyed that people assume it
is he, not Hera, that is responsible for Mekathiron. The people of
Katharonisi make sacrifices to him as the livelihoods of many depend
on the sea. He won’t go against Hera’s wishes, but he’d be happy for
someone to destroy the monster and tell people he helped them. He
doesn’t give a damn about Athenaeus or the Queen. A child of
Poseidon or a hero with his Favour may receive hints, and the god will
push them towards Azureus, the Queen’s advisor, who knows more
about the situation than he admits. He has sent Menthos of Korinth to
the island to “deal with it” but the champion is out of his depth.
Zeus: The King of the Gods is paying no attention to events in

Katharonisi. He’s already forgotten his dalliance with Athenaeus, but
as is often the case with his “romances”, he has made it clear that none
of the gods are to harm the young man. Hera’s curse obeys the letter
of his commandment while subverting the spirit. He won’t get involved
unless he becomes aware that Athenaeus is in peril, in which case he
might send anyone favoured by him to rescue the young man.
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T H E K I N G D O M O F K AT H A RO N I S I
Katharonisi is a small kingdom made up of one large island and a

smattering of smaller ones. It’s precise location isn’t important—unless
there’s a reason to put it elsewhere, it lies south of Zakynthos off the
west coast of Peloponnesos.
THE ISLAND
The interior of the island is given over to raising herds of sheep, and
farming. There are no settlements larger than a village; the life and
soul of Katharonisi lies on the coast. Villages are built around
harbours, and fishing forms the life-blood of the nation. Most villages
have a shrine dedicated to Poseidon, with the larger ones having space
set aside to honour Athena as patron of crafting, and Hestia, the
goddess of hearth and home.
SARIPOLLA
Built on the northern shores of the island, Saripolla was a prosperous

town with a royal palace at its highest point. Before the coming of
Mekathiron, it was a wealthy, if unremarkable, polis with a large
harbour, an armoury, and a gymnasia where soldiers dedicated to
protecting the island from the depredations of pirates once trained.
Now the military forces of Katharonisi are greatly depleted; most of
those who were not killed by Mekathiron are too injured, or too afraid,
to continue fighting.
Until recently, the heart of Saripolla was a bustling agora visited by

merchants from across the Aegean and beyond. Indeed, Phoenikian
traders were a regular sight here, and a small enclave of the eastern
merchants remains even now, risking destruction for the chance of
making a sizable profit from the desperate populace. In the past,
traders would come to buy fish, rich blue and purple dyes, and fine
fabrics woven by the islands’ artisans. Now anyone with any sense is
giving the island a wide berth, and those able to do so are selling their
stocks and fleeing for safer shores.
Near the agora are shrines dedicated to Poseidon, Zeus, Hera, and
Athena. Desperate citizens pray to the gods for aid, but none seems to
be forthcoming. In addition to these public places of worship, there is
also a temple in Saripolla but its location is not immediately obvious.
Within the palace itself lies a chamber dedicated to the veneration of
Hestia, the goddess of the hearth. It is not secret, but is rarely
discussed with outsiders. Built by Queen Iophornis’ grandfather
Klypion, it is a simple structure at odds with the relative splendour of
the palace that surrounds it—but in the centre burns an eternal flame
said to have been kindled by the goddess herself. Any citizen of
Katharonisi is welcome to visit the shrine and petition the goddess for
aid. Nobody really talks about the temple, but everyone on the island
knows it is there.
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Refugees from several of the ruined fishing villages have come here to
petition the Queen for sanctuary, but there is nowhere to put them.
The first to arrive were taken in by families with room to spare, but
now they throng the streets, hungry and frightened. There is not
enough food to go round, and resentment is beginning to simmer
between the citizens of the polis and those seeking the presumed
safety of its walls.
Then there are the champions—foreign heroes who have come to

Katharonisi for a chance to win glory for themselves by defeating
Mekathiron. Some individually, some in small groups, and others in
larger entourages, they have gathered in Saripolla to prepare for the
battle to come. The first to arrive were celebrated, but in the weeks
since, it has become clear that they have no better idea of how to deal
with the behemoth than anyone else, and people are beginning to
grow tired of their often vainglorious demands and cocky attitude.
PEOPLE OF SARIPOLLA
Queen Iophornis (just, stubborn, wise; she/her) is beloved by her

people for her wisdom. A just, even-handed ruler like her father Alkyon
and grandfather Klypion, she is also known as a savvy politician who
has worked hard to make her kingdom prosperous and safe. Now, with
a giant crab rampaging across Katharonisi she is at her wits’ end,
although she hides it well. The worst part is that she feels she has
brought this ruin on her people herself.
When she offered sanctuary to prince Athenaeus, she was not aware of
how bad the situation would get. As soon as she realised, she sacrificed
two black bulls to Hera, asking her to rescind her curse on the innocent
man, but received no answer. Yet the queen refuses to break her word;
she promised Athenaeus she would protect him and protect him she
will. She hopes that she would have made the same decision even had
she known what it would mean, but with each village destroyed that
certainty wavers.
Her dream of seeing her kingdom take its place among the great
poleis of the Aegean is being torn apart by a giant crab. She has
broken her promise to her father to always put the safety of her
people above her personal desires.
Queen Iophornis is beginning to wonder if her oldest friend, the

priestess Basilea, is right. Perhaps the only way to save her people is to
give Athenaeus to the crab. Yet she cannot bring herself to do this,
because she knows in her heart of hearts that doing so would be a
betrayal of everything she believes. It seems the only chance to save
Katharonisi is for the champions gathering in Saripolla to defeat the
monster ravaging her kingdom. But with each failure, hope dwindles a
little more.
Use the councillor profile for Queen Iophornis, but increase her AC: Councillor, 213
Standing to 5, and swap her Diplomacy and Manipulation skills.
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Basilea (frustrated, torn, bitter; she/her) is a priestess of Hera, tending

the shrine that stands not far from the agora in Saripolla. Until
recently, she was a close friend and advisor to Queen Iophornis. When
Athenaeus arrived on the island, she urged the Queen not to offer him
sanctuary, but Iophornis went ahead anyway. When it became
apparent how bad the situation was, Basilea attempted to intercede
with the goddess but the omens made it clear that Hera would not
relent.
The priestess knows why Mekathiron is attacking the island. Her love
for Iophornis prevents her from denouncing the Queen. She knows the
people of Katharonisi are desperate and fears what might happen if
they learn that their Queen’s promise to a foolish young man has
brought disaster upon them. In her heart, she fears that the Queen’s
hubris means the only way to appease Hera will be to offer Athenaeus
up as a sacrifice to the crab.
For now, she avoids the Queen and the champions gathering on the
island, and does what she can to help the villages Mekathiron has
destroyed. The time is coming when she will have to make a choice
between her goddess or her Queen. Unless something changes, she will
have no choice but to choose her goddess.
AC: Priest, 220 Use the priest profile, adding the Favour of Hera.
Azureus (self-effacing, quick-witted, guilt-ridden; he/him) is Queen

Iophornis’ trusted advisor. An older bearded man, invariably clad in a
rich blue peplos and himation, he also wears a fine golden medallion in
the shape of an octopus—a family heirloom. Pleasant and formal, he
introduces himself as a “humble student of history and the world.” His
placid exterior belies inner turmoil.
Nobody else knows, but Azureus is the latest in a long line of

caretakers responsible for tending a ruined temple of Tethys and
Okeanos in the waters east of the island. The blood of the okeanids
flows in his veins, and he is equally at home on land or in the water. He
has sworn oaths to guard the place and honour the titans who, in far-
off days, were patrons of the people of Katharonisi. He knows that
Mekathiron has made its lair there, but is torn between his loyalty to
the Queen and the oaths sworn to generations of his ancestors.
As the devastation has mounted, he has become even more

conflicted—if he speaks up now he invites questions about why it has
taken him so long to share what he knows. If he had revealed what he
knew earlier then more loss of life could have been prevented. As each
village is destroyed, it becomes harder for him to speak up—and
perhaps more imperative that he does so.
The cracks in his otherwise placid facade are beginning to show. He

has taken to drinking undiluted wine to numb his feelings of regret,
and has more recently started visiting the Phoenikian enclave to
purchase powerful narcotics, taking solace in the temporary oblivion
they bring. A hero interacting with him might spot the signs of alcohol
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GODS AND MONSTERS
and drugs with a Cunning (Awareness) roll, which could provide a

bonus die to attempts to get his secrets out of him.
General Sideron suspects he knows more than he is letting on, and may
direct heroes to him if they earn her trust. Likewise, Zestasia has
overheard him praying in the temple of Hestia and while she doesn’t
know exactly what has agitated him, she senses it is more than just the
grief of a man seeing his country torn apart.
Use the councillor profile, but due to his heritage, Azureus has the AC: Councillor, 213
Water Breathing gift. He also knows a ritual that can share this gift AC: Water Breathing, 294
with a small group of people for a single day—but at the cost of losing
it himself forever and meaning he will be unable to continue to tend to
the temple.
Athenaeus (lost, brave, shy; he/him) is an Ionian prince, wooed and
abandoned by Zeus. At the time, he was unaware of the fact that he
was being seduced by the king of the gods; believing that this was a
visiting prince and who would eventually marry him. After the
seduction, however, the “visiting prince” quickly became bored of him
and turned his attentions elsewhere. Now, an angry Hera has vowed to
punish anyone who gives Athenaeus sanctuary, and he is desperate
and afraid.
Athenaeus has nowhere else to go; he doesn’t know what he’ll do if

Queen Iophornis turns her back on him. He presents as brave a face as
he can, but this is the first time he has known anything approaching
peace since his divine lover abandoned him.
Athenaeus is becoming distant. His only real friend is the nursemaid

Zestasia, who has presented him with unrelenting support and
companionship since he arrived. He confides his fears in the good-
natured servant, sometimes in spite of himself, and listens carefully to
her advice.
Getting his story out of him requires a challenging Insight (Diplomacy)

or Cunning (Manipulation) roll; he knows that if the nature of the
curse that follows him becomes common knowledge, he will be in
immediate danger. If someone wins his trust, he may break down in
tears and beg them for help—especially if Zestasia has vouched for
them.
Any hero who makes a sincere, personal promise to help Athenaeus will
find themselves filled with a fierce desire to protect him. They gain 3
points of Resolve. Unlike normal Resolve, these points remain until they
are used or the end of the adventure. They aren’t discarded at the end
of a session and don’t convert to Hubris unless the hero still has them
after the adventure ends. If a hero makes this promise and fails to
save Athenaeus, they gain an additional point of Hubris at the end of
the adventure.
Use the city folk profile but remove the Melee skill and give him the AC: City Folk, 212
Fawning gift. Athenaeus doesn’t use this gift intentionally; it is a AC: Fawning, 293
function of his beauty and gentle spirit.
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General Sideron (loyal, angry, impatient; she/her) is the leader of

Queen Iophornis’ soldiers and the small but well-equipped Katharonisi
military. She is currently confined to the palace; when Mekathiron first
appeared she led the defence of the kingdom. Now, she spends her
days wrapped in bandages, being tended to by physicians. Her left
arm has been severed just above the elbow, and she can’t stand
unaided. She chafes at her confinement, desperate to get back into a
fight that she is in no shape to participate in.
She is contemptuous of the champions who have come to the island,

dismissing them as “amateurs”. A challenging Cool (Diplomacy) roll to
draw her out may cause her to warm to a hero and share what she
knows—or suspects. She can warn the heroes of the tactics used by the
crab and its minions, stressing that while Mekathiron is obviously the
main target, the decapods and karkinoi must not be discounted.
Sideron may share her suspicion that the Queen’s advisor Azureus
knows more than he is letting on. Shortly before her showdown with the
beast, she came across the philosopher deep in his cups and rambling.
He has been pointedly avoiding her ever since.
Finally, she may share her worries that the Queen is not doing enough
to protect Saripolla itself; that it is inevitable the beast will come here
and the remaining soldiers will not be enough to protect the people,
especially when the latter start to panic. The refugees need to be
moved inland no matter how tricky the logistics might be. She has not
been able to get the Queen to listen to her concerns. A hero who can
intercede and get Sideron’s plan enacted will win her gratitude.
AC: Hoplitis Captain, 214 Sideron cannot fight at the moment but the hoplitis captain profile can
be used if needed.
S I D E R O N ' S PA N O P LY
A hero who befriends the general, and who convinces her they have a
AC: Fine, 279 chance of defeating the crab, may receive the loan of her Fine 1
quality dori, kopis, or hoplon to fight the beast. Should they initiate the
evacuation of the polis, she may offer them the use of her armour.
General Sideron has a beautiful breastplate, helm, and greaves—a gift

from her mother Sybella (a priestess of Athena, although Sideron may
not see the need to mention this). The breastplate is particularly fine,
decorated with a beautifully embossed olive tree around the trunk of
which winds a serpent, with the greaves decorated with wide-eyed owls.
Anyone wearing all three items as a set, discovers that the helmet does
not penalise their Awareness, and the penalty to Athletics rolls is -1D
rather than -2D. If they have the favour of the goddess Athena they
can use it twice per session rather than once.
If a hero is instrumental in saving Katharonisi and its queen, Sideron

may allow a hero to keep the armour. If they attempt to steal it,
however, the special benefits of the armour are lost and the hero gains
the disfavour of Athena for their crime.
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Zestasia (good natured, protective, practical; she/her) is a surprisingly

spry old woman and the Queen’s former nursemaid. She now looks
after Athenaeus, and is rarely far from the young man’s side. Few
people realise that far from being a servant, she is a highly favoured
priestess of the goddess Hestia; something she rarely brings up herself.
The old woman knows exactly what is going on in Katharonisi—the

reason for Mekathiron being here, the curse on Athenaeus, and the
nature of the promise made by Queen Iophornis. She knows it is a
matter of time before someone—most likely Basilea—reveals the truth
and the wheels come off completely. She also suspects that old idiot
Azureus knows more than he is letting on—she’s overheard him praying
in the temple of Hestia with a more-than-typical passion.
She’s also a great judge of character, especially with her goddess

gently nudging her towards finding a resolution to this awful situation.
She discards the various self-aggrandising champions that come to the
island seeking glory, but she may find herself drawn to a more serious,
sincere hero, especially one that seeks out the temple of Hestia or has
the favour of the goddess. She can arrange an introduction to
Athenaeus, share her suspicions about Azureus, encourage heroes to
speak to General Sideron, and otherwise serve as a prompt to move
the adventure along. She can also share a little of her blessing with the
heroes—Zestasia has the Oracle gift which she uses by gazing into the
eternal flame of the little palace shrine each morning. She can pass
the benefits of the roll along to a hero by giving them “a piece of
helpful advice” which they can “remember” to replace a roll made by
themselves or an ally with three successes.
Use the physician profile, with the Favour of Hestia and the Oracle gift AC: Physician, 218
as previously mentioned. AC: Oracle, 293
HESTIA'S BRAND
The eternal flame in the temple of Hestia offers protection to those
who wield it. A torch lit from the flame can’t be extinguished except by
immersion in water. While it burns, it can be used as a club with the
Burning 2 property, but it also causes Mekathiron and its spawn to shy
away from the bearer. Anyone wielding such a torch against a
decapod, karkinoi, or mekathiron itself can spend a point of Resolve to
give the torch the Shield 4 property that lasts until the wielder harms
an opponent, at which point it ceases providing any protection.
Zestasia may not be aware of this property until later in the adventure,
and the heroes are unlikely to discover it without her assistance.
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EXPLORING SARIPOLLA
A R R I VA L A N D M E E T I N G T H E Q U E E N
Visitors to the island may expect to speak with Queen Iophornis, but so
many champions have come to the island in recent weeks that actually
getting to see her requires a challenging Cunning (Diplomacy or
Manipulation) roll.
The Queen is clearly harried, and instructs her advisor Azureus to deal
with visitors. The philosopher can outline the situation, but regretfully
explains that heroes will need to find their own accommodations—there
is no room in the palace and the city is packed with refugees.
Future meetings with the Queen require the sponsorship of someone

she respects—any of the NPCs listed in People of Saripolla may be
able to arrange a face-to-face audience.
THE AGORA
Despite the fact that the city is packed to the gills with refugees and
exiles, the agora is still functioning. The presence of merchants eager
to unload their wares is at odds with the needs of the desperate
people and selfish champions thronging to the city. While Common
and Uncommon items are available for purchase, all prices are
increased by 1-5 depending on the item—even food and wine are very
much in demand.
A hero may spend some time speaking to people around the agora,
listening to their concerns, and gathering rumours. There are numerous
refugees in Saripolla that have first-hand experience of the attacks by
the crab. Many are traumatised, and afraid to speak of it in case it
“hears” them and they draw doom down on the city. They require
careful handling, patience, and Cool (Diplomacy or Manipulation) rolls
to tease their stories out. A hero can learn one piece of useful
information per success.
◆ The titanic crab turned up a few months ago and since then has
completely destroyed at least one village every week, working its
way around the coast from the eastern point of the island. There
was no warning before it attacked.
◆ Nobody can remember where the story started, but it seems the
creature is called Mekathiron, and it is the spawn of the titans. The
general consensus is that Poseidon has sent it to punish the people
of the island for some reason, and no amount of sacrifice at the
god’s shrines has reduced his wrath.
◆ General Sideron took the army out to face the monster, and was
soundly defeated. The general herself was seriously injured and is
currently recuperating in the gymnasium, tended to round the clock
by physicians. Most of the surviving soldiers are heavily injured;
those who aren’t are too afraid to face the creature again.
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◆ Survivors tell similar stories about the attacks. It started in the

early evening, heralded by a terrible, indescribable sound, like a
combination of a roar, and the waves rushing in, and a horn
blowing but like none of those things.
◆ Before the creature itself arrives a horde of giant crabs, easily the
size of a dog, poured out of the water in a wave. There were much
larger crab-beasts with them, who killed anyone who got close.
◆ When the beast itself rose out of the water it crashed into the
village, destroying the buildings. It seemed more interested in
destroying buildings than killing, but the smaller crabs more than
made up for this. Once the village was flattened, the crab simply
turned and disappeared back into the sea. The other crab-beasts
followed soon after.
◆ While the smaller creatures could be fought, the behemoth itself
was invulnerable. Arrows, javelins, and spears all bounced off its
hide without effect.
◆ People managed to fight the smaller crabs, and even managed to
bring down one of the larger crabs, but against the titanic beast
itself there was no hope. When someone tried to attack it, it either
cut them in half with its immense claws, threw them against
buildings with lethal force, or simply crushed them beneath its bulk.
◆ Many people have made offerings to the gods, but nobody is
listening. Even the goddess of the hearth has fallen silent, despite
prayers and sacrifices made at her temple. A hero hearing this
might realise that there is no temple of Hestia in the city and
investigate further.
THE PHOENIKIAN TRADERS
In addition to the champions gathering in Saripolla, there is another

notable group of outsiders in the polis. The city has always done well
from trade with the Phoenikians, so much so that they established a
small enclave here with the blessing of King Alkyon (the Queen’s
father). They are making preparations to leave, but are waiting until
the very last moment to do so. Heroes might hear about them from
other champions, or in the agora, or see them out and about. A hero
with any kind of connection to the Phoenikians might even be aware of
their presence already.
The leader of the Pheonikian enclave is a merchant named Anshabul

(ostentatious, shrewd, greedy; she/her), who dresses in fine purple
garments and whose fingers drip with golden rings. As an outsider, she
has made a point of observing the people of Saripolla even as she
trades with them. If she sees an opportunity for profit, she may share
what she knows.
Among other things, she’s aware that the Queen has had a serious
falling-out with one of her key advisors, the priestess of Hera, Basilea.
It happened around the time that the Ionian prince arrived in
Katharonis and not that long before the crab started rampaging
around the coast. It may also have something to do with the way that
the Queen’s other main advisor, the philosopher Azureus, has started
drinking undiluted wine. The old man has also started visiting the
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Phoenikians for stronger stuff (narcotics), things they don’t sell to just
anyone. If she had to make a guess, she’d say he was riven with guilt
for some reason.
The Phoenikians also recognise Mekathiron: they know it’s a child of

Okeanos and Tethys and that it is said to be practically invulnerable.
They don’t lend any credence to the story that Poseidon has sent it, as
it’s not entirely his style. When he’s unhappy with someone, he sends
floods and earthquakes, he is unlikely to petition titans to send their
children after the people he dislikes. It’s odd, because the Phoenikians
seem to remember that in truly ancient days the islanders enjoyed the
protection of Tethys and Okeanos. That all fell by the wayside
centuries ago, but it’s still interesting, don’t you think?
T H E G AT H E R I N G O F H U N T E R S
The heroes are not the only people here to fight Mekathiron and they
are definitely not the first ones to arrive. Each of these champions has
been drawn by the promise of glory; each wants to be the one to kill
the crab and save the kingdom.
Some are staying with families in the town, others have pitched
brightly-coloured tents in the town square. Their presence adds to the
pressures placed on Saripolla by the refugees, and there is a constant
threat of violence gathering around them as they push and shove for
prestige.
There’s a number of champions in Saripolla; the intention is that as the

heroes explore the polis and the island and make their own plans, they
will find rivals and allies among those already gathered here. Heroes
might use Insight (Knowledge) rolls to bring to mind details of these
champions when they hear their names or meet them, and they’re all
happy to gossip about one another (especially Kyriod of Dodonna,
although he has his own agenda).
As always with such a large cast of characters, there’s no need to use

all of them or to try and give them all the same amount of attention.
Ideally, every character should have at least one scene with another
champion, establishing either friendship or rivalry. The GM can use
them to create tension; cause the heroes to question just what the
pursuit of glory is all about; demonstrate the chaos in Katharonisi that
is making it so much harder to fight Mekathiron; and provide
roleplaying moments where individual heroes can show their strengths.
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R I VA L S A N D A L L I E S
Lykos the Hunter (cynical, tenacious, experienced; he/him) is a heavily

scarred priest of Artemis, and has her favour. Lykos has hunted terrible
beasts across Hellas and beyond, and is getting old. He carries the
Akatamakhitos—a potent spear that is a gift from the goddess
herself—but keeps it covered when it is not in use to deflect envious
eyes. Use the hunter profile, but with Accuracy 3, the favour of Artemis, AC: Hunter, 215
and the addition of Akatamakhitos to his attacks.
Scenes: Unlike the other champions, Lykos spends little time

celebrating or arguing. Instead, he can be seen talking with the
refugees about their experiences, trying to put together as much
information about his prey as possible. He will probably turn up to
take a look at the heroes, weighing up how serious about the hunt they
are. He’s not interested in glory for its own sake, and favours heroes
who are likewise motivated by something other than acclaim. Serious
hunters or people who desire to help the people of Katharonisi may
win his trust and alliance.
A K ATA M A K H I TO S
The spear Irresistible is a divine weapon gifted to Lykos the Hunter by
the goddess Artemis. Unlike a normal dori, it has a haft of white wood
and both the head and spike are silver—although they have the weight
and strength of iron.
In addition to the standard dori profile it has the Accurate and AC: Accurate, 279
Savage properties and, when thrown, its Pierce property ignores all AC: Savage, 280
armour for that Harm action. The spear is indestructible: nothing short AC: Pierce, 280
of the power of another god can break it.
The weapon is a gift of the goddess, and she may reclaim it at any
time. It’s possible a hero will gain temporary access to the weapon
during the adventure. If they do, Artemis may send an agent to collect
it after Mekathiron is dealt with. At the GM’s discretion, someone who
uses it wisely and surrenders it without complaint may receive the
favour of the goddess, or she may allow them to wield it in another
adventure. Eventually, though, it will return to the goddess of the hunt.
If someone steals the spear, or refuses to hand it over, they incur a

point of Hubris after every fight they use it in and gain the disfavour
of Artemis until it is returned to its owner or to the goddess herself.
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Alesia the Cunning (methodical, clever, short-tempered; she/her) is an

Athenian who wants to try and organise the various champions to work
together. Unfortunately, few of them are interested in letting her be “in
charge” of the fight against Mekathiron, and her short-temper and
abrasive demeanour have alienated most of the other champions
AC: Peltast Captain, 218 already. Use the peltast captain profile but remove Diplomacy, reduce
Vigour to 1, and give her Knowledge 3. She also has the Tactical
Direction ability of a hoplitis captain.
Scenes: Alesia may try to convince new heroes to accept her

leadership, explaining that the only way to defeat the crab is for
everyone to follow her lead. She is more focused on getting people to
work together than on actually coming up with a plan, however. She
may be spotted ineffectually trying to rally some of the city folk to
build defences, or to accompany her to fight the crabs.
Doros of Thebes (overconfident, self-centred, impulsive; he/him) is a

heavily-armoured hoplite who is a danger to himself and those around
him simply because he rarely thinks things through. Friendly even to
complete strangers, he is absolutely certain that he will kill Mekathiron
and that the best any other hero can hope for is to help him do it. The
weight of equipment he intends to carry into battle makes it very likely
AC: Hoplitis Captain, 214 that he will drown when fighting the Mekathiron. Use the hoplitis
AC: Charge, 284 captain profile but reduce Cunning to 1, remove Tactical Direction, and
give him the Charge talent.
Scenes: Sharing the story of how he defeated a man-eating lion armed

only with a knife to a group of wide-eyed children. Explaining how he
plans to get under the crab and stab it in its soft underbelly, thus
killing it easily. Unironically dismissing stories of other champions as
being “impressive, but not as impressive as the time I…”
Menthos of Korinth (survivor, boisterous, worried; he/him) doesn’t

seem entirely happy to be here. He has the blood of Poseidon on his
mother’s side, and the god has told him to come here and put a stop
to Mekathiron. As a consequence of his heritage he has the Water
Breathing gift, and fights with a coral-encrusted rusty trident that
despite appearances is still a deadly weapon. He’s a survivor and a
AC: Hunter, 215 believer in the old adage “when you’re in the water with sharks, the
AC: Water Breathing, 294 more people there are between you and them the better”. Use the
hunter profile with the Water Breathing gift, favour of Poseidon, and a
trident as his main weapon.
Scenes: Explaining in surprisingly heated fashion that not everything

that comes out of the sea is Poseidon’s fault. Glaring out to sea while
swigging from a wineskin pouring every third mouthful into the waves
and muttering. Sitting with his back to a wall evaluating everyone
around him. Watching Azureus intently; there’s something odd about
him but Menthos can’t quite put his finger on it.
Kleonidas of Ithaka (drunken, braggart, bully; he/him) is a scarred

champion of numerous glorious acts, but also a drunken idiot. He picks
fights, bullies anyone who won’t fight him, and holds grudges against
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anyone who treats him with disrespect (real or imaginary). He leads a AC: Hoplitis Captain, 211
small gang of similarly disreputable “heroes”. Use the hoplitis captain AC: Bandit, 210
profile, with the Come and Get them Talent. His entourage are a half- AC: Slinger, 222
dozen bandits and slingers. AC: Come and
Get Them, 285
Scenes: Drunkenly re-enacting the fight during which he kicked the
bandit king Tolion off a cliff, with little regard for his surroundings.
Drunkenly making advances on someone inappropriate to the point
where it outrages bystanders, parents, or spouses. Drunkenly picking a
fight with a random passer-by, another champion, or a hero. Drunkenly
carousing with his friends, with no regard for other peoples’ property,
in a way that implies violence may break out at any moment.
Minnow of Ithaka (independent, fame-hungry, nihilistic; she/her) is a

skilled huntress and warrior, a veteran of several monster hunts, and
captain of the ship Kynthia. She has contended with harpies, giant
serpents, and along with her wife killed a lamia that was preying on
merchants near Thebes. Widowed, she has started taking risks in the
unconscious hope that eventually she will encounter something
powerful enough to kill her. She desperately wants to see her wife
Hermione one last time. Has had several run-ins with Kleonidas and
despises him and his friends. Use the pirate captain profile, and the AC: Pirate
pirate profile to represent her crew, although none of them are Captain, 220
actually pirates. In both cases, replace their slings with bows. AC: Pirate, 219
Scenes: Half-heartedly flirting with another ship’s captain, bragging

about her exploits. Holding court to a group of youths, regaling them
with her adventures. Showing some youths some fighting tricks, to the
delight of her crew. Drinking with her crew, singing raucous songs, but
in an unguarded moment staring wistfully into the middle distance.
Quietly purchasing a lamb to sacrifice to Aphrodite or Persephone.
Lysandra (focused, meticulous, courageous; she/her) and Lysandros

(inquisitive, nervous, worried they’ve made a mistake; he/him) are a
pair of champion archers from Korinth. Obviously twins, they are never
seen apart. They remain aloof from the other champions, and
Kleonidas in particular accuses them of thinking themselves “better”
than the other champions. In fact this is their first heroic
endeavour—something they are loath to admit—and they find the
boastful nature of the other champions overwhelming. Use the archer AC: Archer, 209
profile for both of them but treat them as champions rather than
minions. Increase their Endurance to 6, Accuracy to 4, and Cool to 2.
Add Performance 2, and the Deadeye talent. AC: Deadeye, 285
Scenes: Practising their archery, each trying to outdo the other.

Playing music together, calming a group of frightened refugees.
Refusing to be drawn into an argument with Kleonidas, Minnow, or
Kyriod of Dodonna. Politely rebuffing the advances of Alesia the
Cunning. One reassuring the other that it’s going to be fine, when they
think nobody can see them.
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Kyriod of Dodonna (smiling, generous, treacherous: he/him) is

everyone’s friend, always happy to drink their wine, agree with them,
and convince them that they are definitely the ones that will defeat
Mekathiron no matter what that other fellow said.
In actuality, Kyriod is a servant of Eris who works tirelessly but subtly

to cause as much distrust and bad feeling as possible. He’s particularly
adept at using music to remind people of old grudges, and reopen old
wounds. His aim here is to make everything as dreadful as possible,
and he lies freely in pursuit of his goddess’ inscrutable goals. He’s
especially keen to undermine Alesia the Cunning in her efforts to unite
the champions against Mekathiron—but fortunately her poor grasp of
diplomacy means most of them ignore her anyway.
A hero who gains additional successes on an Insight (Knowledge) roll

regarding Kyriod may remember something that casts doubt on his
identity. Perhaps they believe Kyriod died in a fight with a bear, or
they had heard he was on the other side of the Aegean guarding the
Golden Fleece. Kyriod will laugh off such misconceptions, but it
provides a clue that all is not as it seems.
AC: Priest, 220 Use the priest profile but rather than temple guards his Temple
Reinforcements ability calls two minion groups of shrieking, hungry
Hungry Shades, 43 shades. He fights with a unique bladed whip with the following profile.
ATTACK SKILL DICE R/R DAMAGE PROPERTIES
Bladed Whip Melee 3D 4 4 Cunning, Parry, Stinging
Stinging (Active): Anyone target of human size who gains Risk or

takes a Wound as a result of a Harm attack Action when this property
is activated receives a horrible bleeding wound. Treat this as if it is
AC: Poison, 150 Poison 1 condition.
Scenes: Keen to make the acquaintance of new heroes, and to warn

them about the weaknesses of the other champions. Singing a song
that fills everyone listening with an unwise amount of confidence in
their own abilities. Advising refugees that people who refuse to share
what they have with desperate people don’t deserve their prosperity.
Passing a skin of strong wine around people who should not be
drinking strong wine. Sneaking about the palace, eavesdropping on
conversations.
Alphios (loud, intense, supportive/enabler; he/him) is from Ithaka, and

sees himself as a young Iolaos—a supporter of champions rather than
a champion himself. He reveres Nike, goddess of triumph and victory,
and encourages everyone to seek glory in her name. He has butted
heads with Kyriod of Dodonna once or twice already, and while he is
clearly jealous, he’s also the only one who sees Kyriod for what he is.
Alphios has had a brief look at Athenaeus when he arrived; he thinks

Athenaeus looks familiar but didn’t see him long enough to be sure
who he is. He may prevail on heroes to help him get a proper look at
him. If successful, he recognises the Ionian prince, and knows the story
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of Hera’s curse. What he does with this information may depend on

which heroes are with him.
Use the orator profile but add Athletics 2. He makes liberal use of the AC: Orator, 216
Motivate ability both in and out of combat.
Scenes: Psyching up one of the other champions whether they like it or

not. Playing his lyre and singing in the agora, trying to raise peoples’
spirits. Urging exhausted refugees to take up arms against Mekathiron.
Tracking the heroes down to find out who they are and to encourage
them in their endeavours (again whether they like it or not). Trying to
organise some games to improve morale. Badmouthing Kyriod of
Dodonna where the latter cannot hear him.
Other characters the heroes have encountered could turn up
here—Aphroditus from Palace of Leaves might be here, perhaps half-
heartedly supporting a new paramour. Likewise Athanaseus, with a
new group of Children of Bellerophon in tow, might be seeking glory or
in the employ of a patron interested in gaining more influence in
Katharonisi. A member of the Heraklides could be here, aware of
heroes who took part in The Pelionion (Kleonidas, Doros, or Alesia
could be reskinned as a child of Herakles).
THE FIRST ENGAGEMENT
Mekathiron’s attacks appeared at first to be random. It soon became

clear the creature was working its way around the island from the east,
attacking along both the northern and southern shores. Now only a
small number of coastal villages remain intact. While many people
have fled to the supposed safety of Saripolla, not everyone is prepared
to abandon their homes or their livelihoods.
When the heroes arrive in Katharonisi, there has just been an attack
against the village of Solmos. This means that, if Mekathiron is
following its usual pattern, there will be several days before the next
attack, giving the heroes time to explore Saripolla, and meet the cast
of characters there.
It’s common knowledge that apart from the city itself only a single
village has yet to be attacked: Kyklos on the northern coast. It lies only
a few hours walk away from Saripolla. The various champions are
making preparations to depart for Kyklos, to face Mekathiron.
The exception is Lykos the Hunter. He’s certain that the crab is
eventually going to come to Saripolla and that represents the best
chance to defeat it once it has been weakened by the other champions.
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KYKLOS
The remaining villagers are initially pleased to see the champions, but
then realise with dawning horror that this handful is all that is coming.
They try to make the heroes welcome, but it is clear they were hoping
for more. There is a day or so to get to know the other champions, and
to plan for the coming battle.
The attack begins in the late afternoon when a terrible sound echoes
across the water from the deep sea—an indescribable noise of immense
volume that sounds like a roar, the sound of waves, and horns. The
villagers are terrified, cowering in their homes or fleeing inland.
Minutes later, the first wave of decapods pours up the beach and
attacks the harbour. They attack anyone they come across, and some
of them inflict property damage—tearing up nets, ripping boats apart,
smashing pottery, forcing their way into homes and nipping at anyone
who gets in their way. Heroes are likely to be engaged by several
minion groups, but should be able to deal with them handily.
Then the first karkinos rises out of the water and attacks the docks.
One of the more foolish champions may mistake this creature for
Mekathiron, laughing at how small the actual creature is and moving
to intercept it. It is only a lone harbinger however; once it is
dispatched, another wave of decapods and more karkinoi appear. A
battle with a number of minion groups and karkinoi equal to hero
numbers should take place.
After several more minutes, Mekathiron itself rises out of the sea. It is
absolutely massive—its shell easily the width of a sailing ship—with
immense claws, a thick carapace mottled with coral and seaweed, and
ten armoured, multi-jointed legs. It moves towards the village, and
assuming nobody stops it, proceeds to flatten three-quarters of the
buildings and wreck the boats before returning the way it came.
The heroes are not expected to defeat Mekathiron in this initial

encounter. They’re almost certainly unprepared for just how big the
creature is, and even if they have made preparations, there are plenty
of ways to make this encounter more difficult.
◆ Mekathiron’s minions are everywhere, and provide a constant

distraction from anyone trying to engage Mekathiron.
◆ The beast is essentially immune to ranged attacks, at least from
mortal weapons, meaning anyone who wants to fight it needs to
get close enough for Mekathiron to defend itself with its immense
claws.
◆ The other champions complicate matters by getting in the way, or
getting into trouble. Likewise, there are still innocent fisherfolk in
the village who might get into trouble. A hero may have to decide
between attacking Mekathiron or stopping someone being torn
apart by karkinoi, bleeding out from vicious wounds, or being
trapped beneath a fallen or burning building.
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◆ The devastation Mekathiron causes can itself present an

obstacle—moving quickly or deftly around the fishing village may
require Reflexes (Athletics) rolls to avoid stumbling, being caught
under a collapsing building, or the like.
◆ Kyriod of Dodonna may take an opportunity to ensure disaster,
either by a direct attack or by unleashing his spirits of mischief. In
the latter case, the heroes should get some clue as to the fact
these spirits have been set upon them by one of the other
champions, perhaps leading them to investigate more thoroughly
after the battle is over.
The presence of the other champions makes everything even more

chaotic. Unless the heroes have somehow persuaded some of the
others to follow their lead, everyone proceeds to get in everyone else’s
way. Even if they have agreed a plan, some of the more unreliable
champions immediately forget or abandon it and rush off in pursuit of
their own glory. Most of them are keen to make sure they get the glory
for defeating Mekathiron, and some of them are foolish enough to
believe they can do it themselves.
One way to reflect this chaos might be to describe how the other
champions get in the way. Whenever the heroes fail a roll, rather than
it being the result of bad luck or circumstance, the GM could describe
how one of the other champions’ moves in the way, or distracts a
target, or otherwise messes up the hero’s action.
The mood here is very much one of chaos and confusion—the various
rivals get in each others’ way and in some cases even sabotage one
another. They don’t necessarily attack each other unless they have a
good reason to—but characters like Kleonidas might decide to settle a
score with someone they hold a grudge against even in the face of a
titanic crab devastating the village.
Once Mekathiron is finished, it simply turns and leaves. The village is

devastated; with dead or badly injured people and the remains of
decapods and karkinoi scattered across the battlefield.
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THE PRIESTS OF HERA
In the aftermath of the attack there is a chance to speak to Basilea.

The priestess and several of her assistants, including at least a couple
of temple guards, arrive at the village with the heroes. They are here
either to tend to the wounded, or to urge the people of the last village
to flee inland. This is an opportunity for heroes to speak to the
priestess; it’s clear that she’s full of both sorrow and anger.
Getting more than a few terse words from the priestess needs a hard
Cool (Diplomacy) or Cunning (Manipulation) roll. Each success allows
for one question before she loses patience with them and returns to
her tasks. The gist of any conversation with her might reveal the
following:
◆ This could all have been avoided, if not for stubborn pride (it
might not be clear, even to Basilea, whether she means this on
behalf of Iophornis, Hera, or both).
◆ These people have been caught up in events they do not
understand, but nonetheless they are still dead.
◆ If you want to know what is going on, ask the Queen. These deaths
are at her door. Again, there’s some ambiguity here as to which
Queen, but if challenged Basilea will say something like “Iophornis
of course. Who else?”
◆ Mekathiron cannot be defeated; it’s a child of the titans and it is
folly and hubris to even attempt it. For that matter, if the creature
is destroyed, then this will just be delaying the inevitable. A new
disaster will come to Katharonisi.
If the heroes miss Basilea in Kyklos, they may have another chance to
talk to her in Saripolla before the final attack.
CALM BEFORE THE STORM
After their first encounter with Mekathiron, everyone returns to

Saripolla. The expectation is that there will be several days before the
next attack. The atmosphere in the city is even more grim than before.
Wealthy citizens clamour on the docks to buy passage on ships going
elsewhere in the Aegean, with as many of their possessions as they can
carry. Brawls break out over food and drink. Some people irrationally
blame the newcomers for bringing Mekathiron to the island. There is a
strong sense that the entire city could explode at any moment.
Assuming the heroes are recovering in Saripolla, there are a number of

scenes and events that might take place.
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◆ One or more of the champions the heroes have met are dead, or
seriously wounded, following the fight with Mekathiron. Ideally
someone the heroes had a positive encounter with to underline the
tragedy. Another possibility would be to kill either Lysandor or
Lysandrus, or leave one of them at death’s door. A hero with
physician skills will be in high demand.
◆ The Phoenikians abandon their enclave, loading their wealth onto
their ships and sailing back east. Some citizens desperately try to
get aboard their vessels; others shout abuse for their “cowardice.”
There may be an opportunity for champions to speak with
Anshabul and learn what she knows. After they are gone, a mob
breaks into their abandoned buildings and pillages them.
◆ A fight breaks out between two or more champions, most likely
Kleonidas and Minnow. Each blames the other for the recent
defeat. Kyriod of Dodonna may be nearby, having exacerbated the
tensions to the point of violence. If heroes don’t intervene, someone
is likely to end up dead or seriously injured.
◆ If they haven’t met already, a hero who made a brave showing
against the crab may be called on to attend General Sideron.
Either way, she wants to hear about how the fight went, and what
the heroes intend to do next.
◆ At the shrine of Hera, Basilea ends up in an argument with
Azureus. The Queen has ordered a hecatomb sacrifice to the
goddess, but there are nowhere near enough animals available.
The priestess loses her temper; she might chastise the philosopher
for his drunkenness and tell him he needs to be a better advisor to
the Queen, now more than ever; or she may loudly remonstrate
with Azureus telling him it is “too late to beg for forgiveness” and
that “a different sacrifice is needed”.
◆ Lykos the Hunter is convinced Mekathiron has a lair to return to
between attacks. It would need to be somewhere nearby, but far
enough away that it would not be discovered by accident. He
thinks he’s close: some of the older citizens know something about
a place from the distant past but refuse to talk to him because he
is an outsider. There must be someone who knows the history of
Katharonisi who could be persuaded to talk?
◆ Azureus and Menthos of Korinth are engaged in a passionate
conversation. The advisor calls the younger champion “cousin” and
questions him about his lineage. Menthos has never met Azureus or
heard of him before and is not interested. Cunning (Manipulation)
rolls may trick Azureus into revealing his Okeanid lineage.
◆ Zestasia appears without warning to speak to one of the heroes,
possibly to offer medical assistance or to share a “strange dream”
she had. She sounds the heroes out, and if she believes they have
the right attitude, she may mildly suggest that they make an
offering at the temple of Hestia this evening, after dark. If they
take her advice, they may encounter Azureus desperately praying,
and in a mood to talk about what he knows.
Depending on what happens next, the heroes should either be

preparing for the imminent attack on Saripolla, or for an expedition to
the Temple of Tethys and Okeanos.
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THE FINALE
There are four main events which may happen next, depending on how
aware the heroes are of Athenaeus and the cause of the attacks.
◆ In The Denunciation of Basilea, the priestess of Hera publicly

shames Queen Iophornis and Athenaeus is chained to a stake on
the shore.
◆ In The Battle for Saripolla Mekathiron attacks the city, destroying
much of it and kidnapping Queen Iophornis. A dying Azureus will
confess what he knows of the beast and its lair.
◆ In The Sunken Temple, the heroes uncover Mekathiron’s
underwater cave and travel there and attack the beast.
◆ In Two Queens and a Prince Athenaeus’s curse is directly
addressed and the heroes have the opportunity to try to remove it.
If the heroes aren’t aware of Athenaeus and haven’t uncovered the

secret knowledge that Azureus has then The Denunciation of Basilea
should be run after they’ve had a chance to rest in Saripolla. This
should be followed by the destruction of the city in The Battle for
Saripolla. They may then go on to The Sunken Temple or skip it
entirely and move to Two Queens and a Prince.
If the heroes have got on well with Azureus or Zestasia and have
uncovered what they know about Mekathiron, they could go directly to
The Sunken Temple to fight the creature and, if they defeat it, prevent
The Battle for Saripolla from taking place. The heroes should return to
find The Denunciation of Basilea underway and then have the
opportunity to move on to Two Queens and a Prince.
If the heroes know about the cause of Athenaeus’s curse then,

depending on their actions, they may encounter Two Queens and a
Prince first. Whether they manage to convince Hera to lift the curse or
not, they will still need to fight Mekathiron as it is too late for Hera to
prevent its attack. In this case, Azureus may privately tell the heroes of
the underwater lair, in which case run The Sunken Temple. If this
doesn’t happen run The Battle for Saripolla, possibly followed by The
Sunken Temple, if the heroes fail to defeat the creature.
LY K O S A N D A K ATA M A K H I T O S
Lykos the Hunter, favoured of Artemis and wielder of Akatamakhitos

has a particular role to play in the fight against Mekathiron. He knows
this will be his last hunt, and secretly suspects he is not fated to survive
it. The weapon he wields is uniquely suited to the fight against
Mekathiron and is one of the few things that can easily hurt it.
At some point, either during The Attack on Saripolla or The Sunken

Temple, when the heroes are nearby he will uncover Akatamakhitos,
and attempt to strike the titanic crab with it. Mekathiron will scream
with pain as the spear easily cuts through its thick shell and sticks
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inside its flesh. It lashes out at Lykos, throwing him aside into a nearby
wall or outcropping of rock.
If the heroes have taken the time to get to know Lykos, they may have
a moment with the dying champion in which he entrusts them with
killing the beast before dying. Either way the spear is a dangerous
weapon, if someone can retrieve it from Mekathiron’s shell.
T H E D E N U N C I AT I O N O F BA S I L E A
This scene might take place as the heroes are preparing to defend
Saripolla, or as they return victoriously from the Sunken Temple.
Basilea is no longer able to resist the urging of Hera, and denounces
Queen Iophornis and Athenaeus. This might happen in the Queen’s
throne room, or Basilea may make her denunciation on the steps
outside the shrine of Hera, before leading a mob of angry citizens to
the palace to confront the Queen.
The priestess declares that it is Iophornis’ pride that has brought

destruction to her people, and explicitly calls out Athenaeus as the
cause of the trouble. She demands that the Queen choose the lives of
all her people over the life of one foolish man who has offended the
gods.
If the heroes don’t intervene, Queen Iophornis refuses to cast

Athenaeus out. She has given her word that he will be safe here, and
she won’t break it even if all the Olympians themselves demand she
does so. At this point, the people of Saripolla take matters into their
own hands, either immediately or as news of the denunciation spreads.
A mob of citizens and refugees attacks the palace, imprisons the

Queen, and drags Athenaeus out of the palace. Even in their fury,
however, they know better than to directly harm the prince. They chain
Athenaeus to a stake on the beach, and leave him for Mekathiron and
his monstrous spawn.
It may be possible to reason with the mob, or support the Queen

against Basilea. If Kyriod of Dodonna is still active at this point, he will
pull out all the stops to try and make sure the worst possible outcome
is realised for all involved.
The worst part of all this is that it is already too late; even if
Athenaeus is left for the crabs, Mekathiron will still attack Saripolla
(assuming it has not been defeated). The Queen’s hubris demands
nothing less. If Mekathiron has been slain, then Athenaeus will be left
on the beach to starve or die of thirst unless he is rescued.
A less dark outcome: Assuming the heroes aren’t able to intervene,

there are several ways this horrible outcome might be mitigated. One
of the other champions—Minnow or Menthos for example—could rescue
the prince and spirit him away from the island. Zeus himself might
finally notice what is going on and send someone to rescue his lover,
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before punishing the people of Saripolla with a devastating flood or

hurricane. Either way the damage is done: Queen Iophornis has been
disgraced, and the prince remains condemned to a life spent
wandering, never able to settle anywhere as Hera’s curse continues to
bedevil him.
T H E BAT T L E F O R S A R I P O L L A
Heroes may want to prepare for the attack on Saripolla. With suitable
abilities and the support of either General Sideron or Queen Iophornis,
they may be able to encourage the populace to build barricades, or
take up arms to defend themselves. There isn’t a lot of time, but
makeshift defences could be raised along the waterfront to try and
contain the decapods and karkinoi. The city folk and the refugees lack
the discipline of soldiers, but there are plenty of weapons, shields, and
armour in the armoury to outfit them. Perhaps one of the heroes or
champions could offer training and help raise their morale?
They might be able to rally the surviving champions. The fight at the
village has demonstrated that without at least some cooperation,
nobody is going to be able to defeat Mekathiron. The main obstacles
are likely to be Kleonidas and Alesia the Cunning (neither of whom
are happy to be part of a group they are not in charge of), Doros of
Thebes (who assumes anything that went wrong at Kyklos was just bad
luck), and Alphios of Ithaka (whose attempts to help involve talking
over people, and breaking into song at inappropriate moments).
Evacuation is still a possibility, and one General Sideron favours. Not

everyone needs to leave the city, but anyone who cannot fight should
seek safety in the hills. Queen Iophornis may ask heroes to escort
Athenaeus to safety, but the young prince ultimately refuses to go.
Those who cannot flee the city might be persuaded to take sanctuary
in one of the shrines or inside the walls of the palace.
If the heroes have won the approval of Zestasia, she will suggest that
the eternal flame in the temple will keep the lesser crab horrors at bay
and may be used as part of the defences to protect the citizens.
THE STORM BREAKS
When the final attack comes, it is heralded by a gathering storm.

Clouds boil across the horizon, and it begins to rain, adding terrible
weather to the threat of Mekathiron and its minions. This may be an
opportunity for a hero with the Mageia talent to use the control
weather effect; otherwise it can be used to add additional tension to
the coming battle.
As the storm breaks, from the harbour the same unearthly howling
noise echoes across the city. The attack follows the same pattern as
before; a swarm of decapods pour out of the sea and begin destroying
everything they can get their claws on. They are followed by a large
number of karkinoi, who focus their attention on any defenders. Finally
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Mekathiron itself rises out of the water and begins to move through
the city toward the palace. Unlike previous encounters, it clearly has a
destination in mind: buildings are destroyed almost as an afterthought
and it tries to move over or past any humans that get in its way.
Initially the heroes should be pitted against groups of decapod

minions and karkinoi in several skirmishes throughout the city. They will
attempt to wear the heroes down by their sheer weight of numbers
and keep them away from Mekathiron.
K E E P I N G E V E RYO N E S A F E
During the fight a hero may roll Insight (Awareness or Lore) to realise
that the crabs are avoiding the shrines of the Olympian gods. The
decapods and karkinoi also avoid any building where the eternal flame
from the temple of Hestia burns, although Mekathiron itself ignores
the fire. This may allow them to get people who are in danger into the
relative safety of the shrines, or the temple of Hestia at the palace.
T H E AT TAC K O N T H E PA L AC E
Once Mekathiron reaches the palace, it proceeds to level it. The Queen
rallies her defenders, but, without heroic assistance, they are unable to
do more than delay the inevitable. The heroes should have the
opportunity to break from the decapods and karkinoi and engage with
Mekathiron itself as it reaches the palace.
If they severely injure it, it turns aside from attacking the palace and
retreats into the water. Even though it has been driven off it is not
defeated. It will return, and keep returning until it is slain or it achieves
its goal. In this case, Azureus will share what he knows with the heroes,
and urge them to try and confront the creature in its lair.
If the heroes manage to defeat Mekathiron, the decapods and karkinoi

retreat back into the sea.
If the heroes cannot defeat Mekathiron, the palace is destroyed along

with anyone who has not taken refuge in the temple of Hestia. Rather
than killing Queen Iophornis, however, the crab grabs her in one of its
claws and carries her away. It returns to its lair in the ruined temple,
where it remains for the next day or so before retreating back into the
depths. It may be possible to rescue the Queen by raiding the ruined
temple, but once the creature returns to the ocean depths that
opportunity is lost. Iophornis is never seen again.
Otherwise, only Athenaeus and Zestasia survive. None of the crabs will
attack the prince, and Zestasia carries an iron-bound torch that burns
with the flame of Hestia’s eternal fire. The weeping Athenaeus can fill
in any blanks here; there may also be an opportunity for Basilea to
appear and denounce the prince blaming him for everything that has
happened and making clear that in the wake of this devastation
nobody will ever be foolish enough to offer him sanctuary again.
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Z E S TA S I A A N D A Z U R E U S
Assuming they have not already learned of the temple, Zestasia will
bring them to Azureus,urging him to share what he knows. The
philosopher lies dying in the throne room, but he is able to tell them of
the ruins, and begs them to rescue the Queen, damning himself for his
own cowardice. As he dies, he passes along his gift of water breathing
to those present, giving them a short window of time to reach the ruins
and potentially save Iophornis.
AZUREUS’ GIFT
While Azureus can breathe underwater, sharing his gift with others
isn’t quite as effective. Any hero partaking of the gift only gains 1 Risk
per round when drowning rather than the usual 3. This only applies to
being underwater, not other means of suffocation, and can still be
resisted using Might (Vigour). Azureus’ gift lasts until the next
downtime phase.
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THE SUNKEN TEMPLE
Alternatively, the heroes might be able to gather the information

needed to find Mekathiron in its lair. They need to interrogate Azureus,
and get him to share what he knows about the Temple of Tethys and
Okeanos. He will only do so on the condition that the heroes swear not
to tell the Queen where they learned of the ruins; he is riddled with
grief and guilt over his refusal to act.
The temple ruins lie to the east of the isle of Katharonisi, in the waters
around an uninhabited island. It can only be reached by swimming
beneath the water, something Azureus and his forebears were able to
do thanks to the blessing of the titans that runs through his blood.
Azureus can share that blessing with others, but in doing so it will fade
entirely from his bloodline. The lineage of caretakers will end with him.
He is reticent to hand this power over, and needs persuading. This may
require Insight (Diplomacy), but an impassioned appeal to his loyalty
to the Queen, or the need to protect the city, may be sufficient to
persuade him. If convinced, he mixes a droplet of blood with a goblet
of wine, and passes it among the heroes. He has no idea how many
people might gain the gift, nor how long it will last, but he advises the
fewer the better. The heroes will still need to reach the ruins, and they
will still need to defeat the crab.
If possible, the GM should arrange for Lykos the Hunter to be present

for this exchange, or in a position to overhear. He has been hunting for
information about a lair, and has been closing in on Azureus as the
most likely person to know of one. He wants to accompany the heroes;
he knows this will be his final hunt and wants one last monster before
he retires.
Azureus may also suggest the heroes speak to Menthos of Korinth. The
philosopher knows he carries the lineage of the okeanids and should
be able to help them reach the temple.
Reaching the island requires a boat; heroes may be able to prevail on

Minnow of Ithaka, or they may be able to get the assistance of the
Queen (who will of course want to know how they have learned of the
ruins that she has previously been unaware of). Either may require
Insight (Diplomacy) rolls: taking the champion and her crew, or an
entire valuable ship, away from the city on a potential wild goose
chase may require some persuasion.
With a boat, and following Azureus’ instructions, the actual journey to

the ruins is uneventful. Azureus may accompany them on their trip,
sharing his water breathing gift with them at the last moment.
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THE BEAST IN ITS LAIR
During the day, the temple ruins are just visible beneath the water.
They look strange and otherworldly. Choked with seaweed, there seems
to be a central dome and four branching halls that lead off it. Despite
being described as “ruins” and obviously having been underwater for a
very long time, the actual structure looks solid.
If the heroes can breathe water, they can reach the temple without
further difficulty. Reaching the ruins requires the heroes to dive;
anyone who cannot breathe underwater, including those with Azureus’s
gift, requires an extended Might(Athletics) roll to do so, needing to
accumulate 6 successes. Each roll after the first, the hero must roll to
AC: Drowning, 151 resist the effects of drowning.
The halls that lead into the central dome are supported by rough
columns, and there are statues of sea-creatures and nymphs
decorating the place. It feels as if it is built on a larger scale than the
grand temples the heroes may have seen dedicated to the Olympians.
Wherever possible, play up the strangeness of the place—it represents
a structure from a time before Zeus dethroned Kronos after all.
The ruins are only partially flooded. Some property of their

construction, or some lingering enchantment, means that large parts of
the interior are filled with salty but breathable air. Luminous fish,
seaweed, and jelly-fish provide unearthly, shimmering light to those
within. Practically everywhere is at least ankle deep in water, and in
many places the footing is treacherous as loose rocks or sharp corals
twist or shatter underfoot.
The GM may want to include an additional fight here with decapods

or karkinoi, but only if the heroes have somehow made it this far
encountering only minor difficulties. Most likely, their resources have
been heavily depleted by the adventure so far.
Mekathiron makes its lair inside the central dome. This impossibly
large open area is a jumble of broken statuary, fallen columns, uneven
ground, rock pools, and lapping water. The beast is asleep when the
heroes arrive, although it will quickly wake and defend itself if they
draw attention to themselves. If Queen Iophornis is here (following the
attack on the palace), she is trapped in the crook of the beast’s
pincers, but may be persuaded to try and sneak out if she realises
rescuers are here.
Heroes could to sneak into position with Cunning (Survival:Stealth), or

approach Mekathiron with Reflexes (Athletics) to avoid waking it. If
some of the heroes make their rolls and others fail, assume that those
who succeeded complete their preparations while those who failed are
interrupted by the beast waking before they can do so.
Even with the advantage of surprise, the fight should be a major

challenge—but significantly easier than trying to face Mekathiron
surrounded by its decapods and karkinoi.
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During the battle, the GM should bring out the unique nature of the
temple of Tethys and Okeanos. Possibilities for doing so include:
◆ Spending a point of Hubris causes part of the structure to fall,

requiring a hero to make a Reflexes (Athletics) Resistance roll to
avoid gaining 3 Risk. Each success reduces the Risk taken by 1.
◆ Spending a point of Hubris to confront a hero who needs to move
quickly over difficult terrain. They either need to make a Reflexes
(Athletics) Resistance roll or be unable to reach their destination.
◆ Spending a point of Hubris to cause a hero who is not wearing
greaves to brush against a venomous jellyfish or sea anemone. A
Might (Vigour:Poisons) Resistance roll is needed to avoid gaining
the Poison 1 condition.
◆ A failed attack from Mekathiron may damage the dome, causing
water to begin pouring in. As water rises, it becomes more difficult
for the heroes to move around. At first they need Might (Athletics)
to wade through the deepening water or can progress at half
speed. Alternatively they might use Reflexes (Athletics) to leap
between fallen statues and columns and stay out of the water.
Every other round, roll a d10. On a 1-5, the number of successes
needed to move through the water increases by 1. Once the
number needed hits 3, heroes need to swim to move around and
may risk drowning.
Mekathiron will not retreat from its lair unless it has already made a
successful attack on the palace. If it attacked Saripolla and was driven
off, it will have recovered at least half the damage inflicted on it by
the time the heroes encounter it—but it will still show signs of the
wounds received. It may also have the Akatamakhitos sticking out of
its carapace, if Lykos is already dead.
Should Mekathiron be defeated, the temple of Okeanos and Tethys

will begin to collapse. The heroes will need to be quick, swimming back
to the surface. They may have enough time to grab a trophy—one of
the crabs massive claws perhaps—but they will need to be swift or risk
being buried under the collapsing dome.
T WO Q U E E N S A N D A P R I N C E
Even if Mekathiron is defeated, this provides only a temporary respite

to Katharonisi. Athenaeus remains cursed by the Queen of the Gods.
Iophornis is stubborn and will not send him away. In time—sooner
rather than later—another doom will come to Katharonisi as long as
Athenaeus remains in the kingdom.
It’s possible the heroes have entirely missed the story of what is really
going on. If they haven’t, they may be able to intercede to resolve the
situation. Zestasia will encourage them to do so, and at the urging of
her goddess might take steps to bring them together with the three
people at the heart of the conflict: the Queen, Athenaeus, and Hera,
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either with Basilea as a stand-in (with the goddess speaking through

her), or in person if the GM wants a suitably mythic ending.
The showdown might take place on the eve of the attack on Saripolla,
or after the heroes return from the Sunken Temple and is likely to take
place in the temple of Hestia. The GM can lay out the situation
through the NPCs: Basilea urging Iophornis to send Athenaeus away,
the Queen refusing to break her word, both of them placing the young
man in an untenable situation.
There are a number of ways this could be resolved. First and foremost,
the heroes could urge the Queen to put her loyalty to her kingdom
over her promise to Athenaeus. This is the worst outcome for the
prince, whose only offer of sanctuary is ripped away. They can soften
the blow slightly by offering him a different sanctuary, but they should
understand that he will continue to bring ruin wherever he goes.
Alternatively, they could propose a compromise. Athenaeus has been

punished, and has suffered. Perhaps that is enough? And perhaps
parallels could be drawn with Hera’s own innocence despite the
dreadful doings of her own father. She must remember her own time in
exile with Tethys and Okeanos; perhaps they can play on this to gain
sympathy for Athenaeus. Perhaps Athenaeus could be given over to
the service of Hera? By showing mercy to Athenaeus, Hera might
shame her errant husband into facing up to his mistakes and maybe
even force him to address his inconstancy. Hera is right to be angry,
but her anger might be better directed to the architect of her rage,
her husband, not the mortals he seduces.
This might come down to dice rolls, but it could also be addressed
purely through roleplaying. Hera is already regretting her open-ended
and ill-advised curse, and will be happy to find a way out of it. The
way such an opportunity is presented, however, is crucial. One does not
lecture the Queen of the Gods, after all. Diplomacy, or very clever
Manipulation, will be required if a compromise is to be found.
There is one other consideration however; Queen Iophornis has defied

the goddess. She may have done so for the best of reasons, but she
cannot be permitted to oppose Olympos without consequences. In
particular, she cannot remain as Queen of Katharonisi. Hera may not
demand her life, but she will certainly demand that she abdicates. The
Queen has no heir; her kingdom will either fall into obscurity or be
conquered by one of the other greedy poleis unless someone can be
found to replace her who shares her commitment to her people.
The wild card in these debates is the goddess Hestia. Incensed by the
disaster that the feuding Zeus and Hera have unleashed on the
people of Katharonisi, she may intercede directly. The eternal flame in
the temple roars up, and the goddess roundly chastises Hera, pointing
out that she and her husband are meant to be an example of all that
is good about marriage and instead they spend their entire time
bickering. Such an outburst is unprecedented, especially from a
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goddess who is generally depicted as passive and mild-mannered, and

might be enough to turn the tables in the heroes’ favour.
Regardless of how this scene plays out, the final confrontation with
Mekathiron is still likely to go ahead. It is too late for Hera to call the
crab back, even if she is minded to. The heroes will still need to defeat
the beast before it lays waste to Saripolla.
TRIUMPH AND DISASTER
If the heroes defeat Mekathiron each receives 2 Glory. It doesn’t

matter if they did it by themselves, or by organising the other
champions, and it doesn’t even matter if they did it before or after the
creature laid waste to Saripolla. Everyone involved gains the Glory.
If they managed to resolve the situation between Hera, Athenaeus,
and Queen Iophornis, they may be due an additional point of Glory
depending on how public their deeds are and how successful they were.
However, they will also take at least one point of Hubris for thinking
they know better than the gods.
It’s entirely possible Mekathiron destroys the kingdom of Katharonisi

and leaves. Athenaeus is left homeless and wandering, and, as news of
his role in the disaster spreads, he finds nobody prepared to offer him
a home. If the heroes take Athenaeus in, without first dealing with
Hera’s curse, they are likely to bring disaster on their polis. The GM
should present omens then send Mekathiron, or a similar devastating
threat, after their polis. One final option, which is beneficial to
everyone except Athenaeus, is for Zeus to turn his lover into something
which takes him beyond Hera’s curse. A plant, animal, or setting his
likeness amongst the stars are all solutions found in mythology, and if
Hera can’t be petitioned to remove the curse, Zeus could be petitioned
to remove Athenaeus from danger.
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A DV E R S A R I E S
DECAPOD MINION
Crab-like creatures the size of dogs. While their general outline is crustacean,
individual creatures may have features that mark them out as unnatural: an
extra pair of claws, one oversized claw, two or four extra (or missing) legs, jelly-
fish like tendrils that inflict a stinging welt, lobster-like bodies, human-like eyes.
Tactics: The decapods are unsubtle combatants that try to overrun human
opponents, nipping with their pincers and biting with their complex mandibles. A
minion group probably consists of between three and six, and the GM should
merge groups together as they lose members.

Abilities
Grabbing Pincer: The GM can spend a point of Hubris to have the decapod
grab a weapon or shield. The hero must make a Might (Melee) Resistance roll to
avoid losing the item, which is dropped at their feet.
Overrun: A minion group of at least three decapods can try to overrun human-
sized opponents. If the target takes any Risk or Wound from the attack, the
creatures can move to Short range as if disengaging, without gaining any Risk,
and need not move away from their target to do so.
Claws Brawl 5D 2 4 Disarm

Overrun Brawl 5D 2 Stagger
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KARKINOI CHAMPION
These are giant crab-like creatures that can face a hero one-on-one. They are
even more unnatural than the smaller decapods, capable of rearing up on their
legs to almost human height.
Tactics: A karkinos Crustacean tends to focus attacks on a single opponent. If

they are badly hurt, they use sudden scuttle to disengage, and then move away.

Abilities
Weak Underbelly: When a karkinos is pinned, treat its Armour as 0.
Twin Pincers: A karkinos can make two pincer, Grab, or crush attacks each turn
but they must be against different opponents.
Grab: When making a Pin Action with its pincer, the karkinos adds +2D to the
skill check. If successful, the target remains pinned until the karkinos releases
them, or someone succeeds at an opposed Might (Brawl) roll as an Action on
their turn (this roll to break free does not suffer the usual penalty to skill rolls for
being pinned). While a target is pinned, the karkinos can use its crush attack
against them, and if it moves they are forced to move with it. The karkinos can
only have one human-sized creature grabbed at a time
Sudden Scuttle: The karkinos can move with bursts of remarkable speed. The
karkinos makes a Reflexes (Brawl) roll to Disengage, adding its Dodge to the
dice pool without needing to spend its Reaction.
Pincer Brawl 5D 2 4 —
Pin (Pincer) Brawl 5D 2 — Improved Grab
Crush Brawl 5D 6 —
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M E K AT H I RO N LEGEND
A child of the titans Tethys and Okeanos, Mekathiron is a titanic brute that
towers over human beings. Its shell is pockmarked, overgrown with patches of
weed and coral. It has two massive, razor-sharp pincers and ten multi-jointed
armoured legs that propel it with equal facility overland or across the bottom of
the sea. A terrifying, ancient beast, it is almost immune to slashing and piercing
weapons, and has no fear of either fire or humanity. Its only vulnerability is to
crushing weapons, and they can only temporarily crack its dreadnought shell.
Tactics: Mekathiron is the primary antagonist of the adventure, and represents a

major threat to anyone and anything nearby. It is as much a force of nature as a
creature, and the GM should present it as such. It can destroy a stone building as
an Action, and when it is not under attack, this is what it does.
Heroes are likely to come up with plans to weaken or slow the creature’s advance,
and the GM needs to interpret the existing rules to help put those plans into
operation. They should remember that Mekathiron is not here to kill people, it is
here as an agent of destruction and is more interested in destroying settlements
than cutting heroes or villagers in half. That’s what its minions are for.
If it is suffers a Wound it retreats into the sea. It can always come back later.

Abilities
Titanic: This creature is gigantic in size. Increase the Difficulty of all Pin Actions
made against it by 3. Successful Pin Actions don’t prevent the creature from
making a Move Maneuver unless the attacker has either the Huge or Titanic
ability.
Terrifying: Anyone facing Mekathiron for the first time must make a Cool
(Vigour) Resistance roll with a Difficulty of 2 or suffer a -3D penalty to all skill
checks while facing it. A failed roll can be repeated at the start of each turn until
it is successful. NPCs are likely to flee or cower in terror if they fail the roll.
Nigh Invulnerable: Mekathiron’s carapace is resistant to slashing and piercing
attacks and ignores the Pierce and Savage properties of all normal weapons. It is
immune to the effects of normal fires.
Fragile: Mekathiron’s carapace cracks easily and is vulnerable to bludgeoning
attacks. Any attack made with a bludgeoning weapon (e.g. club, mattock, sling,
unarmed strike, etc) treats Mekathiron’s Armour as 4 lower than its current value.
If the attack is successful and causes Mekathiron to gain Risk or suffer a Wound
the attacker can invoke the Fates to crack the carapace and reduce Mekathiron’s
Armour by 1 against all attacks until the end of the encounter.
Under the Behemoth: An attacker at Engaged range of Mekathiron can use a
Move Maneuver or Disengage Action to move under the beast. The attacker
gains 4 Risk (only 1 if Mekathiron is pinned), which can be reduced by the
successes of a Disengage roll. All attacks against Mekathiron from underneath
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reduce its Armour by 4. Mekathiron can use its crush attack against everyone
underneath it as an Action. This attack ignores any Shield or Parry Reactions the
targets may have. Moving out from under Mekathiron moves the character to
Engaged range using the same rules for moving underneath.
Force of Destruction: Mekathiron can make two Actions each round, although it
cannot choose itself to go next in the same round unless all other characters in
the conflict have acted.
Grab: When making Pin Action with its claw Mekathiron gains +2D. If successful,
the target remains pinned until Mekathiron releases them, or someone succeeds
at an opposed Might (Brawl) roll as an Action on their turn (this roll to break
free does not suffer the usual penalty to skill rolls for being pinned). When
Mekathiron begins its turn with a target pinned, it can use its squeeze attack or
Fling ability against them, and if it moves, they are forced to move with it.
Mekathiron can have up to two people grabbed at a time.
Fling: When Mekathiron has someone grabbed, it can fling them away as an
Action. They are immediately moved to Short or Medium range, and suffer
falling damage as if they’d fallen from Short range.
Juggernaut: Mekathiron never gains Risk for moving past opponents and does
not need to make the Disengage Action. Anyone moving away from Mekathiron
gains 2 Risk instead of the usual 1.
Monstrous Spawn: As a Reaction, the GM can spend a point of Hubris to have
Mekathiron attract either two minion groups of four decapods, or a single
karkinos, to join the fight at the start of the next round.
Immense Claw Brawl 10D 5 6 Grab, Savage

Squeeze Brawl 10D — 7 Pierce
Crush Athletics 11D — 7 Stagger, Stun
Arcane Lore
The carapace of Mekathiron can be used to make a robust hoplon. Anyone with
the Arcane Lore talent can spend a downtime Action making the shield with a
successful Cool (Craft) roll. For each success choose one of the following effects,
each effect can only be chosen once.
◆ Inrease Shield rating by 1

◆ Increase damage by 1
◆ The Pierce property used against the wielder only reduces Armour by 3 if
the Shield Reaction is used
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CHAPTER 11
A R M O U RY O F T H E G O D S
GODS AND MONSTERS
Travel to the armoury of the gods and bring me the Golden Lion that
guards the vault of Uranos.
BAC KG RO U N D
This final adventure is inspired by Herakles’ twelfth labour—bringing

Kerberos up from the underworld. In the context of an ongoing
campaign, the heroes have achieved everything demanded of them,
and their reward is to be given an impossible quest that will surely
result in their deaths.
By their nature, quests involve going to places (and, hopefully, coming

back from them). One of the things that makes a quest epic is going
to places nobody else can go, and achieving something nobody else
can do. These places are often magical in their own right, divorced
1 1 / A R M O U RY O F T H E G O D S
from the mundane experiences of the adventurers. This adventure
imagines such a place—the fictional wasteland where Hephaestos
stores powerful weapons—and sends the heroes there to recover an
indestructible Golden Lion.
In the Greek myths the magical locations where heroes go on

impossible quests are part of (although distant from) the mundane
world. The Underworld, for example, is clearly a supernatural location
but is reached through physical entrances and literally lies beneath the
lands of Hellas. Likewise, the palaces of the gods can be reached by
any mortal able to climb far enough up Mount Olympos—although as
the story of Bellerophon warns, attempting to do so is an act of
overwhelming hubris.
The location for this adventure, the armoury of the gods, isn’t drawn
directly from Greek myth, but rather arises from more cinematic
inspirations such as the island of Talos in Jason and the Argonauts. It
has a higher-fantasy feel than many other AEGEAN adventures, and is
intended to serve as the climax to a campaign.
Insight (Knowledge) rolls can confirm the location of the Armoury on

the western shores of the island of Lemnos, and that it lies near to the
forge of the god Hephaestos. Stories claim it is a terrible wasteland
where the Olympians store dangerous divine weapons in unassailable
vaults, and that experiments and projects abandoned by the god of
the forge are left to wander the ruins.
Insight (Lore) knows that the Golden Lion is an indestructible

automaton constructed by Hephaestos and powered by divine fire. It is
said to guard the first weapon interred in the vaults of the armourer of
the gods, the Sickle of Uranos. It is itself a weapon of divine power,
capable of devastating great swathes of land should Hephaestos ever
choose to unleash it.
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THE GODS
Aphrodite: The goddess of love and desire is the wife of Hephaestos.

She has had many lovers, the most famous of them being the god
Ares. When Hephaestos discovered their relationship, he trapped the
lovers in an inescapable net and dragged them naked before the other
gods to humiliate them. This insult rankles with the goddess, and the
heroes’ quest presents an opportunity to gain a measure of vengeance
on her husband. Aphrodite watches the heroes’ progress with interest,
and will eventually intervene directly to help them achieve their
goal—if they are bold enough. Any hero favoured by the goddess may
become aware of her interest even before she appears before them.
Ares: The god of war and slaughter also has a bone to pick with
Hephaestos, and may offer his support to anyone intending to steal
something from the god of the forge. More importantly, however, the
armoury of the gods contains numerous dangerous weapons that could
wreak havoc in the right hands, including the Golden Lion itself. Ares is
not opposed to the idea of mortals getting their hands on such
weapons; they will inevitably destroy themselves, but until they do, they
will spread war and violence across the Aegean. A hero favoured by
Ares might be encouraged to try and acquire other weapons from the
armoury, or urged to embrace the opportunity to use the Golden Lion
as a tool to defeat their enemies.
Hephaestos: The god of the forge is initially unaware of the heroes’

quest. When he becomes aware, he sees it as an opportunity to test his
creations and the defences of the armoury of the gods. He isn’t
particularly concerned by Aphrodite’s plan to embarrass him; he’s not
very easy to embarrass when all is said and done. His anger over
Aphrodite’s affair was short-lived and he has an engineer’s interest in
seeing the things he has made being put to use. A hero with the favour
of Hephaestos might even receive minor assistance to survive in the
wasteland, until they encounter something the god wants to observe
them dealing with of course.
The heroes are about to travel beyond the realms of mortals into a
mythical otherworld. Thus, they are unlikely to bump into anyone they
know in the armoury of the gods. On the other hand, at this stage in
their careers they may have made quite a name for themselves, so it’s
possible that an NPC champion they’ve previously impressed may offer
to accompany them on their ship and help them get to the island
(while not intending to accompany them in their explorations of the
armoury).
Any particular nemesis the heroes have may pursue them to Lemnos
and stage a final showdown either as the heroes reach the island, or
attempt to intercept them on their way to the Vault of Uranos.
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R E AC H I N G L E M N O S
The armoury of the gods and, to a degree, the island of Lemnos itself
are shrouded in mystery. Beyond the fact that Lemnos is a volcanic
island, and that Hephaestos maintains his forge there, few facts are
generally known. The heroes should realise that they are going to a
very dangerous place. Even disregarding the creations of Hephaestos,
just getting enough to eat and drink in a volcanic wasteland may
prove to be a challenge.
Insight (Knowledge) rolls can provide a little information about the

people of the island, the Sintian pirates and the Lemnian women, and
their likely attitude to outsiders.
Insight (Lore) can provide some hints about the challenges of reaching
the armoury, such as the defences Hephaestos has put in place to
discourage trespassers. Beyond that, and the knowledge that the
armoury is the home of unknown numbers of dangerous automata
constructed by the god of the forge, there is precious little to learn.
Additional successes on either of these rolls might mean the hero has
been able to uncover information about the automated defences
Hephaestos has placed around the island. One success might result in
a short summary such as “Iron teeth wait to tear the bottom out of any
ship that gets too close” while extra successes provide more detail such
as “The Iron Teeth rise and fall in line with a dreadful mechanism, and,
like any mechanism, it may be possible to determine the pattern they
follow—a feat no mortal has ever accomplished.”
One warning that any hero investigating the armoury of the gods will
receive is that their quest is going to anger the gods. They are
ultimately going somewhere that mortals are not supposed to go. The
weapons stored in the armoury are terrible treasures that have been
sealed up by Hephaestos for a reason. Exactly how much they anger
the gods will depend on how respectful they are once they get there,
and the circumstances surrounding their visit.
S I N T I A N P I R AT E S
The island of Lemnos is home to the Sintian pirates. Descendants of

the people who tended Hephaestos after his father hurled him from
Olympos, they are known to have the favour of the god of the forge.
They guard the waters around the volcanic isle, and their ships range
across the eastern Aegean engaging in piracy and raiding coastal
settlements. One element that complicates interactions with the Sintian
pirates is that they do not speak a civilised language, communicating
only in a barbaric tongue entirely unfamiliar to the citizens of Hellas.
The first obstacle the heroes face on drawing close to the armoury is
avoidingthe Sintian pirates who sail the waters around the island.
Heroes should make Insight (Awareness) rolls to spot ships of the
Sintian fleet on their approach. The total number of successes rolled by
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all the heroes determines how many Sintian ships have spotted the
heroes’ ship and how close they are when spotted.
SUCCESSES SHIPS RANGE
0 5 Medium
1–2 4 Medium
3–4 4 Long
5–6 3 Long
7–8 2 Long
9+ 2 Extreme
The Sintian ships are fast and can move one range band closer every
round, except for ships at Extreme range, which require two rounds to
move to Long range. When the ships are at Short range they will throw
grappling hooks and attempt to board. Due to their size, only two
ships can board another at a time.
To avoid a battle with the pirates, the heroes must make an extended
roll requiring three times as many successes as there are heroes.
Any hero can contribute to the roll in a number of ways such as Cool
(Diplomacy) (to inspire and direct the crew), Reflexes (Athletics) (to
perform difficult physical tasks alongside the sailors), or Cunning
(Survival) (to take charge of the tiller or the sails).
If the heroes fail to lose the pirates, or choose to confront them

AC: Pirate, 219 directly, a ship-to-ship battle breaks out. Use the profiles for pirate and
AC: Pirate Captain, 220 pirate captain. All of the captains have the favour of Hephastos
(allowing them to reroll a Craft, Lore, or Vigour roll once), and may
even be a descendant of the god himself (increasing their Might by 1,
and giving them the Robust gift).
The Sintians worship Hephastos, and enjoy his favour. In any

confrontation with the pirates at least some of them will be equipped
AC: Fine, 279 with beautifully crafted weapons or armour with the Fine 1 or Fine 2
property. Such accoutrements are notably different to those the
citizens of Hellas are familiar with, and using them may risk marking
the wielder as a friend of pirates or bring misfortune to a thief (in the
form of Hubris, a minor curse, or attempts by the Sintians to recover
the item). Signs of Hephaestos’ favour can also be seen in the Sintian
ships themselves. The pirate vessels may be equipped with particularly
cunning pulleys used to swiftly raise and lower the sails, or may have a
reinforced prow that allows them to ram enemy ships with crushing
force.
C OA S TA L D E F E N C E S
Once the Sintian pirates are dealt with or bypassed, the heroes need
to deal with the defences Hephaestos has put in place to discourage
invaders. There are three layers to the automated defences: the vicious
iron teeth, the fire-serpent towers, and the guardian automata.
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GODS AND MONSTERS
By themselves, each would be a problem but taken together they

present a significant challenge. The intent of these defences is to sink
any ship approaching the armoury. Indeed, the remains of ruined
vessels can be spotted in the water and along the shoreline.
Rather than track Risk for the heroes’ ship, the defences assume that
the vessel is either “whole”, “damaged”, or “sinking.” Heroes with
suitable Craft skills might be able to repair the vessel once it is
damaged, but such rolls will be at least challenging while the ship is
still navigating the hazards along the island’s coast.
VICIOUS IRON TEETH

As the water gets shallower, rusted iron spikes can be spotted in the
water with Insight (Awareness) rolls. The teeth slowly rise and fall, and
will likely rip open the hull of any ship that tries to get to shore. The
heroes may be able to navigate between the teeth with an extended
roll using a combination of Insight (Awareness) and Cool (Survival) to
both spot where they are rising and react in time to avoid the ship
being damaged. Eight successes are needed; after three rolls the vessel
is damaged and after five rolls the ship begins to sink.
Alternatively, a formidable Insight (Lore) roll might be used to

understand the pattern that governs the rising and falling of the teeth,
and allow a ship to pass safely through. There are plenty of
opportunities for heroes to assist one another in overcoming this
challenge. A single failure might result in damage to the vessel,
placing the heroes in a dangerous situation where they must quickly
repair the ship while still navigating the iron teeth; a second failure is
likely to result in a shipwreck.
F I R E - S E R P E N T TOW E R S
At regular intervals all along the shore stand tall stone towers. Great
bronze serpents coil around them, their heads resting atop the towers,
their glittering crimson eyes watching the waves. When a ship gets too
close, the serpents open their mouths and spew gouts of sticky, clinging
fire toward the trespassers. Even if it does not sink a ship outright, this
sticky flame can wreak havoc among the crew of an approaching
vessel, or ruin the rigging and sails,leaving the boat dead in the water.
When the towers spit fire, heroes should make Cool (Athletics) skill
checks or take 3 damage with the Burning 3 / 3 property.
As with the iron teeth, there are several ways to overcome this obstacle.
A hero with Insight (Awareness or Lore) might note both that the
serpents’ crimson eyes track movement before launching their attack,
and that each tower takes a few moments to “recharge” before they
can attack again. Insight (Knowledge) might show that the serpents
don’t move—meaning that if a ship is close enough to one of the
towers the flame won’t be able to hit them.
If a tower can be tricked into launching its flaming projectile before

the ship is in range, and the crew is fast enough, they can exploit the
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delay to get close enough to be out of the line of fire, assuming they
can navigate the iron teeth, of course.
Alternatively, the heroes might wait until nightfall, when the towers
can’t see their ship—but then they will need to avoid making too much
noise, perhaps with Cool (Survival) or Cunning (Athletics) rolls.
G UA R D I A N AU TO M ATA
The final line of defence deployed by Hephaestos are guardian
automata that patrol the area, either flying or swimming. There are
several possibilities as to the nature of the guardians which include:
AC: Gryphon, 241 ◆ A pride of bronze gryphons that launch themselves from the slopes
of the volcanic mountains and swoop down on a ship.
AC: Triton, 226 ◆ A patrol of brass tritons, humanoid constructs with fish-like
features that leap from the waves onto the ship and set to work
murdering everyone aboard with their metal talons before slipping
back under the waves again.
The timing of the automata attack is up to the GM: they might wait
until the heroes have passed the iron teeth and the fire-serpent towers,
or they might present an additional threat to a band of heroes
navigating one of the other defences. Fighting automata while trying
to steer the ship safely through the defences may be a dramatic scene,
but the GM should take into account that the heroes won’t be able to
bring their full force to bear against any attackers and pick numbers
of attackers accordingly.
AU TO M ATA
Any adversary profile can easily be converted to an automaton by
adding the Divine Automata ability and the following stat increases:
◆ +1 Might or +1 Reflexes
◆ +2 Cool
◆ +2 Endurance
◆ +4 Armour
Divine Automata: The automaton creature is immune to fear and

social attacks. While stunned, it treats characteristics as 1 rather than
0. It is not affected by poison, venom, or burning.
AC: Dire Animals, 238 One or two additional abilities from the Dire Animals section can also
be added to make the creature a more epic threat.
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SHIPWRECKED
If their ship sinks, the assumption is that the heroes will still be able to
make it to shore. Hephaestos’ defences are aimed at vessels, not
individual mortals. In the initial shipwreck, heroes need to narrate how
they survive the sinking ship and make Reflexes (Survival) or Might
(Vigour) Resistance rolls against 5 points of Risk, with each success
reducing the Risk taken by 1.
Reaching the shore following a shipwreck involves an extended Might

(Athletics:Swim) roll. The number of successes required depends on
how close the heroes got before their vessel sank—8 if they only
reached the Vicious Iron Teeth, 4 if they made it to the Fire-Serpent
Towers. Every roll after the first, the heroes must roll to avoid drowning. AC: Drowning, 151
The heroes may survive, but the shipwreck itself is a major loss. Many
of their crew will be lost and the heroes will need to exert additional
effort to save any NPCs accompanying them. They might also lose any
supplies they have brought with them, although the GM probably
should ensure that anything important to the player washes ashore
rather than being arbitrarily lost at the bottom of the sea.
T H E A R M O U RY O F T H E G O D S
The armoury is a swathe of wasteland bordered by mountains and

volcanoes. Clouds of ash and dust hang in the sky. There is no
wholesome vegetation and fresh water is difficult to find (any Survival
roll to forage for sustenance should be challenging at least). The place
is a wretched desert, and the heat is unrelenting during the day. At
night, temperatures drop close to freezing, while rivers of molten lava
glow balefully on the slopes of Mount Mosykhlos.
The beach where the heroes arrive is littered with the ruins of ships
(some with unfamiliar designs) and the bleached bones of sailors who
sought to trespass here. Once they have a chance to look around and
take stock of their situation, each hero gains a point of Hubris. They
must also make a Cool (Vigour) Resistance roll or gain 1 Risk that
can’t be removed until they leave the armoury. Those heroes who take
Risk feel a nagging awareness that they are trespassers, and are likely
to bring some terrible fate down on themselves if they continue.
The players can choose to explore the skeletal ships, perhaps

scavenging for supplies. It’s up to the GM what they find, but an
Insight (Awareness) or Insight (Survival) roll could be used to provide
guidance. Possibilities include heroic accoutrements—armour, weapons,
and shields—or supplies vital to survival—rope, nets, and fresh water.
Once they leave the beach, they get a better look at the wasteland
itself. Scattered seemingly at random are a small number of
foreboding structures, great rectangular blocks of stone carved with
disturbing decorations made all the more unsettling by erosion and
layers of soot and grime. These are the vaults in which Hephaestos
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stores the forbidden weapons. Between the vaults are ruins: wrecked
buildings, shattered statues, and the twisted remnants of massive
automata whose original form is only hinted at.
How difficult the wasteland is for the heroes to navigate depends

entirely on what the GM thinks will be fun for the players. It’s
appropriate to describe the terrible wasteland in detail, and have each
hero make regular Might (Survival or Vigour) Resistance rolls to avoid
accumulating Risk from the heat and toxic air. Not everyone enjoys
having to deal with relentlessly grim environments however, and the
intention is to exhaust the characters not the players.
The same applies to food and drink; some players might enjoy
worrying about whether they have enough to eat and drink, others
might find such book-keeping frustrating. This could be a great
opportunity for a hunter or character who has focused on the Survival
skill to shine, helping the entire party deal with deprivation and the
natural dangers of the wasteland.
HUNTING THE LION
There’s no map for the armoury of the gods: exploring the wasteland
and tracking down the Golden Lion is abstracted to an extended skill
roll. One of the heroes takes the lead, and rolls Insight (Survival),
looking to accumulate 15 successes. Other heroes can offer assistance
as normal but should explain how they are able to help the lead
character.
Following each roll, the heroes encounter a challenge. If the Survival

roll was a success, the heroes start in a relatively controlled position for
dealing with the obstacle: they spot enemies at a distance, or have
plenty of time to prepare for crossing a stream of lava. If the roll was
a failure, however, they start at a disadvantage: their enemies are able
to ambush them, or the first they know about the deadly miasma is
when they begin to cough.
If heroes deal with an obstacle cleverly or efficiently, or gain some

advice from a non-hostile inhabitant of the wasteland, the GM may
grant one or more bonus dice to their next Survival roll. If the heroes
do poorly, the GM may penalise their next Survival roll, but should
probably only do this when they are not already overburdened with
unpleasant consequences.
CHALLENGES
The GM can pick a challenge, or roll a die on the table below. In some
cases two difficulties or numbers are separated by a slash, indicating
the danger of a challenge following a successful Survival roll versus
that for a failed survival roll where the heroes are in a more dangerous
position.
When dealing with these challenges, the heroes should have some
leeway as to what combination of characteristic and skill they use,
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provided they can narrate how that helps them overcome the obstacle.
This can encourage the players to come up with cunning approaches,
and keeps them invested in the story of what is happening rather than
abstracting everything to a series of Might (Athletics) rolls.
Risk accumulated from the wasteland’s dangers generally cannot be

resisted with armour, and can’t be recovered with a standard Recovery
roll, unless the hero is able to reach a place of safety and spend a few AC: Recovery, 147
hours recuperating. At this point, they may make a recovery roll to
remove some of the Risk inflicted by the Armoury of the Gods.
1. Lava flows and geysers: Lava flows down the mountains, and
occasionally bubbles up from within the earth. Narrow bridges
sometimes cross these fiery flows, while at other times there may be
black stepping stones. Gouts of boiling water, steam, or fire
sometimes spurt up from below the island without warning, and in
some parts of the wasteland there are multiple fissures that
regularly explode, threatening anyone nearby. Passing through the
area causes 3/5 Risk, with a Resistance roll reducing the damage
by one per success. Approaches could include enduring the heat
with Might (Vigour), picking a safe path through the area with
Reflexes (Awareness),or moving through cautiously and
methodically while avoiding danger with Cool (Athletics).
2. Mephitic Miasma: The air itself is tainted with volcanic gases and
the waste-products of Hephaestos’ forge. Sometimes it is visible as
a creeping red- or yellow-tinged fog or smoke; at other times its
arrival is heralded by an acrid smell, or a faint shimmering in the
air. The miasma may sneak up on the heroes; they might be in the
middle of an area of poisonous gas before the first hacking coughs
provide any warning. Escaping the area needs an extended roll,
looking to accumulate 4/6 successes. Before each roll is made,
however, a hero must deal with the threat of suffocation. Rolls to AC: Suffocation,
navigate the area might involve Reflexes (Athletics) to cross 151
difficult ground quickly, Cool (Survival) to keep one’s head and
plan a route through the area, or Insight (Knowledge) to use
understanding of the miasma to effect a safe escape.
3. Dangerous Rain: Sometimes clouds gather above the wasteland,
but the liquid they produce is tainted and dangerous. At other
times, burning embers rain down from the sky. In both cases, the
heroes need to find shelter—and quickly. A standard / challenging
Insight (Survival) roll can identify cover. Each additional success
reduces the number of successes needed to reach that safety by 1.
Reaching shelter involves running as the rain begins to fall, using
an extended Might, Reflexes, or Cool (Athletics) roll. The hero is
assumed to be safely out of the dangerous rain once they have
achieved 4 successes. Each round after the first they are exposed
to the dangerous rain they must make Might (Vigour) rolls to
avoid gaining 1 Risk on the first such round, 2 on the second, and
so on.
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4. Ruins: A maze-like area of ruins, zig-zagging fissures, and perhaps

even toxic marsh or foul water blocks the way ahead. Occasional
movement can be spotted; the ruins are inhabited but it may be
possible to move through them without attracting attention.
Navigating the ruins safely requires a hard / challenging roll, likely
using Cool (Athletics) to move cautiously, or Cunning (Survival:
Stealth) to employ stealth. During this group challenge, anyone
can invoke the Fates to give successes to other members of the
group, as well as to improve their own roll. If anyone fails, an
encounter with the inhabitants of the ruins occurs—either
monstrous scorpions (1-5), harpies (6-8), or cursed ones (9-10).
Giant Scorpion, 182 5. Monstrous Scorpions: The Armoury of the Gods is an
unwholesome place and natural creatures do not prosper here.
Unfortunately, the wasteland is home to a breed of giant scorpion,
made huge and savage by the influence of Hephaestos’ forge. The
heroes have attracted the attention of a number of these
creatures. If the heroes are at a disadvantage, the scorpions attack
from ambush and the heroes face an equal number of them in the
conflict. If the heroes have the advantage, they may be able to
evade the awful arachnids with Cunning (Survival: Stealth) rolls,
otherwise they have to face one fewer than their own number.
6. Cursed Ones: The heroes are not the first people to trespass here.
Some of those who have reached the armoury of the gods are
accursed, unable to die. They stumble in groups across the
wasteland, or lie beneath thin layers of ash waiting for someone to
AC: Spartoi, 246 disturb them. They look like skeletons covered in parchment-thin
AC: Hoplitis Captain, 208 skin and the ruined remains of armour and weapons. For a mob of
AC: Peltast Captain, 218 cursed ones use the spartoi profile, supplemented with one or two
AC: Harpy, 242 champions using the hoplitis captain or peltast captain profile with
the spartoi’s Inhuman ability.
7. Harpies: These creatures are drawn to wastelands, and several
flocks roost among ruins or atop one of the great vaults. While
they are savage and hateful, they are not automatically hostile if
approached carefully. They might be tricked or bargained with if
they are given beautiful or valuable gifts, and especially if the
heroes outnumber them and present a united front. They might be
convinced to offer assistance in the form of bonus dice or
automatic successes to the next Survival roll, but they are just as
likely to try and lead heroes into an ambush or dangerous location
so they can feast on them.
8. Automata: The armoury of the Gods is protected by Hephaestos’
automata. Some have been put here specifically to keep mortals
out, others represent abandoned creations. Automata resembling
almost any kind of creature could be encountered here; good
AC: Bear, 227 starting points are the bear, boar, gryphon, (perhaps without the
AC: Boar, 228 flying ability), or orthrian hound. Humanoid warriors based on the
AC: Gryphon, 241 hoplitis captain may also be encountered, their weapons and
AC: Orthrian Hound, 245 armour integral parts of their construction. Add the Automata
Automata, 176 profile. Not every encounter with automata needs to be a
fight—heroes might be able to avoid or trick them, outpace them,
take shelter from them, or redirect them toward a different target.
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9. Kyklopes: The one-eyed giants who help Hephaestos at his forge

are occasionally sent down into the wasteland. Others have
incurred Hephaestos’ wrath, and might have been exiled to the
armoury of the gods until his anger subsides. Seven feet tall, and
generally armed and armoured, their attitude to the heroes
depends on their status with the god, what the humans are doing,
and whether they are at an advantage or disadvantage. Loyal
kyklopes are likely to want to capture or kill mortal interlopers, but
might be tricked or persuaded to seek orders from someone with
more authority. A renegade kyklops might be convinced to give aid
to the heroes, either providing them with advice in finding a path
or avoiding an obstacle (bonus dice to the Survival roll, or warning
of a coming encounter), or even guide them a short distance AC: Kyklopes, 235
(providing between 1 and 3 automatic successes to the next AC: Bandit, 210
Survival roll). The kyklopes profile could be combined with bandit, AC: Hunter, 215
hunter, or wrestler, depending on the encounter. AC: Wrestler, 224
10. Episkeue and Vokanis. Built against the side of a ruined palace is
a makeshift, ramshackle hut built out of debris and bits of wood
from shipwrecks. This is the camp of Episkeue (introverted,
cautious, brilliant; she/her), an artisan favoured by Hephaestos,
and Vokanis (optimistic, curious, overthinks; he/him), her kyklops
partner. Initially unfriendly, a hard Insight (Diplomacy) or Cunning
(Manipulation) roll may modify their attitude and cause them to
offer sanctuary to the heroes. While very much in love, their
families refuse to accept their relationship. They seem to be on a
quest of their own, but they are rather tight-lipped about it. Heroes
resting here can make a Recovery roll to reduce the Risk accrued
from the dangers of the island. They ask their guests to share news
from the outside world, as well as stories and music. Successes on
Insight (Perform) or Insight (Knowledge) rolls might be used to
secure assistance in the form of guidance (bonuses to Survival
rolls), or a minor gift of something useful (a weapon, ammo loads,
supplies for a herb bag and the like). This encounter only occurs
once; if it is rolled again, substitute an encounter with kyklopes
searching for the pair.
181
BOOK OF HEROES
GIANT SCORPION CHAMPION
Giant scorpions are descendants of Skorpios who was sent by Gaia to slay the
giant Orion when the latter had threatened to hunt and kill all the creatures of
the earth. This scorpion is nowhere near as large as the one sent to slay Orion; it
is closer in size to a large dog or wolf, though rumour has it that larger relatives
can be found in the wild places of the world.

Abilities
Pin and Crush: A giant scorpion’s pincers are very good at pinning an opponent,
giving it +2D to any Pin Actions. Once an opponent is pinned, the scorpion can
use its crush attack against the target, either as a Reaction or on its following
turn.
Multi-Attack: A giant scorpion can make two pincer and one stinging tail attack,
or one Pin Action and one stinging tail attack per round, against any opponent
in Melee range.
Venomous (Active): Any character who suffers a successful Harm Action when
this property is activated, whether or not they gain Risk or suffer a Wound, gains
Poison 2.
Pincers Brawl 6D 2 4 Pierce

Crush Brawl 6D 6 Pierce, Savage
Stinging Tail Brawl 6D 4 4 Pierce, Venomous
Arcane Lore
Anyone with the Arcane Lore talent can harvest the scorpion’s stinger and use a
downtime Action to make it into a formidable makhaira with a successful Cool
(Craft) roll. The makhaira has the Fine 1 and Pierce properties and the scorpion’s
Venomous (Active) ability. The Venomous property can be activated a number of
times equal to the successes rolled on the Craft skill check before it is completely
used up.
182
GODS AND MONSTERS
T H E VA U LT S O F H E P H A E S T O S
Once the heroes have accumulated at least five successes on their

Survival roll to explore the island, they encounter their first vault. These
are massive rectangular structures, more reminiscent of giant chests
than buildings. Each is decorated with vast friezes relating the history
of the weapon it contains, and possesses a single immense bronze door
sealed with an incredibly complex mechanical lock.
These structures are like nothing a citizen of Hellas has seen before,
and something about them fills mortals with primal terror. A hero
needs a hard Cool (Vigour) roll to approach one of the vaults. Failure
causes them to gain 1 Risk, and gives them a -3D penalty to any other
skill rolls made in the vicinity. The hero can choose to try and overcome
the fear, but each time they fail to do so they gain another point of
Risk.
Built by Hephaestos and the greater kyklopes, the vaults will not yield
to any force that mortals might bring against them. The only way in is
to tease out how the mechanism of the door works with an extended
Insight (Lore) roll, requiring at least 12 successes. Each attempted roll
also means dealing with one of the defences of the vault—see the
details of the vault of the inescapable net for details. The vaults are
also protected by powerful automata that will provide a significant
threat to anyone trying to open one: a giant bronze guardian using the AC: Greater
greater kyklopes profile or perhaps even a drakon. These guardians do Kyklopes, 240
their best to destroy anyone interfering with a vault, but won’t pursue AC: Drakon, 239
mortals who flee.
WEAPONS OF THE GODS

In a traditional fantasy game, magic weapons are a common reward
for heroes. Perhaps too common. The armoury of the gods however is a
prison as much as a storehouse, and should heroes successfully
penetrate one of the vaults, they are going to find something much
more terrible than a +1 sword. The weapons within may be massively
oversized, or infused with destructive energy. They are likely to be
cursed, and resist attempts by mortals to wield them.
Examples might include a fifteen-foot long trident infused with

lightning or fire that indiscriminately shocks or burns the wielder for as
long as they are in contact with it; a massive winged horse of polished
ebony that tramples anyone who releases it before disappearing into
the sky to wreak devastation on nearby islands until it can be
recaptured; a sword that poisons anyone struck with it with terrible
venom and dooms anyone who wields it to kill all their friends and
loved ones.
In each case, the price of actually using one of these devastating items
should be catastrophic destruction and death for the mortal foolish
enough to try and do so.
183
BOOK OF HEROES
THE SHRINE OF APHRODITE
At some point after they accrue 10 successes towards their goal, but
before they reach the vault containing the Sickle of Uranos and its
terrible guardian, the heroes find a structure that seems entirely out of
place in the wasteland. Ahead of them is a beautiful shrine of white
marble,in stark contrast to the black sand that surrounds it.
Within is a shallow pool tiled in blue and white and an unspeakably

beautiful, incredibly life-like statue of the goddess Aphrodite.
Everything here is of breathtaking craftsmanship, and there is a sense
of serenity and welcome at odds with the surrounding wastes.
If the heroes rest here, they can make a Recovery roll with +3D to
remove any Risk gained from exposure to the wasteland’s dangers.
They can choose to spend an extended time here and have a downtime
AC: Heal Self, 185 to attempt the Heal Self downtime Action to remove Wounds. Anyone
who rests here receives +2D to any roll needed to resist fear or terror
for the next full day (such as seeing the Golden Lion, or approaching
one of the vaults where the weapons of the gods are held).
The heroes are not the only people in the shrine; one of the gods is
here in person to meet them. Either Aphrodite or Ares has taken a
personal interest in their quest, and intends to offer them some
assistance. Which god they meet depends on the make-up of the
heroes; the GM should pick the one they are most likely to be
sympathetic toward. Neither admits to being the actual god, avoiding
such questions deftly or answering them with questions of their own.
Either god starts by telling them the tale of the shrine: how
Hephaestos built it for his wife but in a fury hurled it into the
wasteland. Both avoid any discussion of quite why the god of artisans
was in such a foul mood to begin with. Aphrodite seems sad, while Ares
is perhaps slightly smug. They then turn to the matter at hand.
The god is aware of the heroes’ quest and wants to help. The Golden
Lion is the pinnacle of Hephaestos’ work, and while it might be
damaged, no mortal can hope to subdue it. Not with mortal weapons.
Indeed, even a god might struggle to defeat something that
Hephaestos has poured so much of his skill into creating.
Cunning (or strategy) may succeed where brute force will fail, however.
The only thing that might reliably overcome a creation of Hephaestos
is another creation of Hephaestos. And by luck there is a powerful
weapon that will help deal with the creature in the vault not too far
from this shrine. If the heroes can open the vault, they can seize that
weapon and use it to capture the lion. Well, borrow the weapon at
least: the things stored here are not really for mortal use.
The weapon is a net, one which no force mortal or otherwise can

escape. It listens only to its maker, and it can certainly contain the
Golden Lion. The only drawback is that it must be used against its
target while they are unaware or unable to resist; sleeping,
184
GODS AND MONSTERS
unconscious, or taken by surprise. Once they get the Golden Lion back
to their quest giver, they’ll have to decide what to do with it. Aphrodite
might hint that sometimes giving people what they think they want is
the best way to teach them a lesson, while Ares might mention that the
Golden Lion is a devastating weapon of war that could make someone
who could command it undisputed ruler of a great swathe of the world.
But that’s a consideration for after the automaton is captured.
Once they’ve explained their plan and answered a few questions, the
god departs. One moment they are present, the next they are gone; or
perhaps they step behind one of the columns and never emerge.
T H E VA U LT O F T H E I N E S C A PA B L E N E T
If the heroes follow the god’s suggestion and seek out the nearby
vault, they should have no additional difficulty reaching the vault of
the inescapable net. As with the other vaults, it is a massive box-like
structure made of black stone with a huge bronze double door. They
need to overcome the atmosphere of terror that surrounds the place,
as detailed above, if they are to have any chance of entering.
If they have examined any of the other vaults, they might realise that
this is of much newer construction, perhaps the most recent vault
created, given it shows no sign of the weathering exposure to the
hostile wastelands. The friezes decorating it show Helios telling
Hephaestos of his wife’s infidelity; the capture of the divine lovers; and
their humiliation before the other gods. Anyone looking closely may
recognise one of the gods, providing evidence, if any is needed, that
the person who directed them here was more than a mere mortal.
The doors are sealed by a complex mechanism of interlocking wheels

that is beyond anything a hero has encountered before. Puzzling out
the lock requires an extended Insight (Craft or Lore) roll requiring a
total of 9 successes. Each roll takes several hours—and requires a hard
Cool (Vigour) Resistance roll from everyone nearby to avoid
accumulating a point of Risk as the fear emanating from the vault
threatens to overcome them.
A failed roll to open the doors means that one of the vaults’ defences
is triggered: volleys of barbed chains whip out from recesses around
the doorway tearing into anyone nearby. Treat this as a 10D attack
against each target within Medium range of the door, causing 6 AC: Pierce, 280
damage, with the Pierce and Savage properties. AC: Savage, 280
Once the door is opened, the vault is revealed to be a vast, dark,

echoing, empty space. A single beam of light descends from the ceiling
to illuminate the heroes’ prize… a golden net draped over the arms of a
faceless white statue.
Also inside the vault is the final guardian: an Automaton Hydra with
five heads. The automaton is a significant challenge, but does not need
to be faced directly. Heroes could distract it, allowing one of their
number to sneak around and steal the weapon and then flee. The
185
BOOK OF HEROES
automaton becomes aware of any stealthy hero grabbing the

inescapable net and increases the Difficulty of attempts to draw its
attention elsewhere by 1.
The automaton pursues the intruders implacably, but heroes might be

able to seal it inside the vault again—it’s much easier to shut the door
than open it requiring only a Cool (Craft or Lore) roll. As long as the
hydra is still in the vault when the doors begin to close, it will be
unable to pursue them. Anyone left behind to delay it will need a hard
Reflexes (Athletics) roll to escape before the doors close, with failure
resulting in a 1 point Wound and a roll on the Critical Injury table.
AU TO M ATA H Y D R A LEGEND
The automata hydra is a huge construct of brass, bronze and gold. Each of its
five heads has a different gemstone for eyes which glow in the darkness.

Abilities
Divine Automata: The automaton creature is immune to fear and social attacks.
While stunned, it treats characteristics as 1 rather than 0. It is not affected by
poison, venom, or burning.
Fearsome: Anyone facing a hydra for the first time must make a Cool (Vigour)
Resistance roll with a Difficulty of 1 or suffer a -2D penalty to all skill checks
while facing the hydra. A failed roll can be repeated on the start of the
character’s next turn.
Huge: This creature is gigantic in size. Increase the Difficulty of all Pin Actions
made against it by 2.
Multiple Heads: The Automata Hydra has five heads. Each head can make a
single bite attack on the hydra’s turn or can be treated as a Minion group and
provide assistance to other heads. When moving away from the hydra without
taking a Disengage Action treat each head as an opponent for the purposes of
gaining Risk.
Stupid: This creature is enticed by motion. An attacker can use the Perform or
Manipulate skills when attempting a Pin Action.
Noxious Blood: Anyone at Melee range to the hydra who cause it to take a
Wound must make an immediate Reflexes (Athletics) Resistance roll to avoid the
acidic blood that splashes from the wound. Failure causes the character to gain
Burning 2 for 3 rounds.
Weak Spot: While Pinned, treat its Armour as 2.
Bite Brawl 10D 5 5 Pierce

Claw Brawl 10D 2 5 Savage
186
GODS AND MONSTERS
T H E I N E S C A PA B L E N E T
The inescapable net is only a few feet square, composed of incredibly
delicate golden chains, and looks light enough to float on water. The
idea that this little net might contain a juggernaut like the Golden Lion
appears laughable. In actuality, the net is not only indestructible and
inescapable, but it expands to contain anything it is thrown at
provided the target is unaware that it is coming. Wielding the net uses
Cunning (Accuracy) to attack—it is a weapon of surprise and stealth
rather than brute force.
When heroes secure it from the vault, they each gain a point of Glory,
a point of Hubris and 2 points of Resolve; they are close to achieving
their goal, and have achieved something no other mortal has ever
achieved… albeit by transgressing the will of the gods.
FAC I N G T H E G O L D E N L I O N
Whether they secure the inescapable net or not, the final leg of the
heroes’ quest takes them to the first vault built by Hephaestos. Built on
the side of one of the volcanic peaks that ring the armoury, it is
obviously significantly older than the others. The friezes on the side
have been eroded by time and the unnatural weather; an eagle-eyed
hero might still make out images of Uranos wielding his horrific curved
blade to cut the sky open, of Kronos castrating his father in terrible
detail, and of the titan in turn being disembowelled by Zeus.
Set into the mountainside above the vault are an immense set of
double doors—easily fifty feet tall—that loom ominously over the scene.
They cannot be opened.
The Golden Lion guards the vault; the good news is that the heroes
don’t need to get close enough to the structure to have to endure the
terror it exudes. The bad news is that the lion is alert for any signs of
trespassers, and taking it unawares may prove extremely difficult.
One of Hephaestos’ most powerful automata, the Golden Lion is a

huge metal creature filled with primal flame that gouts from its mouth
whenever it opens it. Without the inescapable net, the lion is almost
impossible to defeat. The inescapable net must be deployed from
stealth, or while the Golden Lion is incapacitated. The automaton is
very hard to distract or sneak up on (as reflected by its Insight and
Awareness), so the group will need to work together to get the wielder
of the inescapable net into position to use it. Once they do, they need
a Cunning (Accuracy) roll to deploy the net, using the automaton’s
Awareness as the Difficulty (assuming it is not incapacitated). If the
beast is pinned or stunned, reduce the Difficulty by 2.
Once trapped in the net, the creature goes berserk but is unable to
escape—and cannot employ any of its attacks. It can be dragged
easily—the net seems to neutralise the weight and mass of the
automaton just as it removes its ability to fight.
187
BOOK OF HEROES
THE GOLDEN LION OF HEPHAESTOS LEGEND

Might: 7 Accuracy: 2 Endurance: 24
Reflexes: 6 Athletics: 5 Armour: 12
Cool: 1 Awareness: 4 Dodge: 0
Insight: 4 Brawl: 4
Cunning: 3 Survival: 3
Vigour: 4
Abilities
Burning (Active): The target hero, and any hero within Melee range of the
target when this property is activated, gains the Burning 3 effect for 3 rounds.
Claws: This creature may make two claw attacks per turn against one or more
opponents at Melee range.
Divine Automata: The automaton creature is immune to fear and social attacks.
While stunned, it treats characteristics as 1 rather than 0. It is not affected by
poison, venom, or burning.
Fearsome: When facing the golden lion for the first time, a hero must make a
Cool (Vigour) Resistance roll with a Difficulty of 2 or suffer a -2D penalty to all
skill checks. A failed roll can be repeated on the start of the hero’s next turn.
Ferocious: The Golden Lion may spend a point of Hubris to take an additional
turn in a round. It can’t choose itself to go next in the same round unless all other
characters in the conflict have acted, and it can’t employ both flaming breath
and mighty roar in the same round, nor use one of those abilities twice.
Huge: This creature is gigantic in size. Increase the Difficulty of all Pin Actions
made against it by 2.
Mighty Roar: This creature may spend a point of Hubris to use Might (Vigour)
to make a Harm attack Action against all opponents within Medium range. Each
success causes the target to gain 1 point of Risk and the attack has the Stun
property.
Indestructible: The Golden Lion can be incapacitated, but cannot be killed. At
the start of each round the golden lion reduces its Risk by 1. If it has no Risk
remaining, it removes one Wound instead.
Weak Spot: When the Golden Lion is pinned, treat its Armour as 8.
Bite Brawl 11D 3 6 Pierce

Claws Brawl 11D 5 5 Savage, Dual Strike
Flaming Breath Accuracy 9D Short 4 Burning
Mighty Roar Vigour 11D Medium 0 Stun
188
GODS AND MONSTERS
T H E G O D F RO M T H E M AC H I N E
With the Golden Lion subdued, the heroes still need to escape the
armoury of the gods. As they are no doubt discussing what to do next,
there is a terrible grinding noise as the immense iron doors set into the
side of the mountain begin to open. Firelight pours out from within,
and a quartet of greater kyklopes emerge, armed with immense
hammers and clad in heavy iron armour.
Their leader tells the heroes to leave with their prize, but that they
doubt it will bring them any joy. They should be under no illusion that
Hephaestos is allowing them to take the lion because he knows it will
bring them only ruin. Nothing in the wasteland will impede their
escape, and if the ship they arrived in is shipwrecked they will find a
vessel waiting for them. The greater kyklopes warn the heroes that the
lion, like the net, is a creation of the god of the forge. Its place is here,
and one way or another it will return here.
They may answer a few questions, perhaps confirming that Hephaestos

knew they were here and has learned ways to improve his defences
after watching their exploits. They may caution the heroes against
getting involved in the love affairs of the gods, and then urge them to
leave before Hephaestos changes his mind and chooses to make an
example of them.
Heroes will be able to return to the beach without further difficulty in

the wasteland, and if they have lost their means of transport, they will
find a Sintian pirate ship that will take them wherever they want to go.
RETURNING THE LION
The heroes will not be allowed to dock their ship anywhere save their
home polis; nobody wants to risk the Golden Lion getting loose and
destroying their city. When they return home (or wherever it is they are
to deliver the lion), people are stunned by the immensity of the
automaton and the incredible task the heroes have achieved.
Delivering the Golden Lion may mark the climax of a campaign,
particularly one in which heroes are forced to undertake tasks for a
tyrant.
With the quest completed, the wrath of the gods falls on the quest
giver and everyone nearby. When the Golden Lion is presented, the
quest giver has a few moments of triumph and then, inexplicably, the
inescapable net falls away. The lion devours the quest giver and likely
destroys their palace before smashing its way through the surrounding
area and into the sea, clearly bound on a course that will take it back
to Lemnos. Of the inescapable net there is no sign.
As a coda, the heroes might have another meeting with Aphrodite or

Ares (or indeed any other patron god) that leaves them with the
strong impression they have been used as pawns. The god reassures
them, and urges them not to take it personally. They achieved great
189
BOOK OF HEROES
things, and no doubt they will go on to achieve even more great things.
Their deeds have brought glory to their polis and rival cities will think
twice about tangling with such champions. How they choose to use this
prestige is up to them; Aphrodite suggests that they might be wise to
retire and spend the rest of their lives doing what makes them happy,
while Ares might propose that they strike while the iron is hot and
invade their most annoying neighbour.
Either way, if this is the end of the campaign then the party should
take a few minutes to talk about the high-points, and how their
adventures have changed the face of Hellas and their polis in
particular.
TRIUMPH
Defeating the Golden Lion, and bringing it to the quest giver, is worth
an award of 3 points of Glory. The GM may also wish to award the
heroes with a permanent boost to one or more of their polis’
characteristics, reflecting the improved prestige the city enjoys from
their heroic deeds.
190
CHAPTER 12
AUTHOR BIOS
BOOK OF HEROES
Eleanor Hingley (she/they) has been in love with Classical

mythology since she was little and weaves it into her work as
an RPG writer. She writes for Cubicle 7 on their Doctor Who,
Wrath & Glory, Broken Weave and 5e Vault lines, including the
Starter Set for the Second Edition of Doctor Who: The
Roleplaying Game. She also contributed to SIN: A Spire
Sourcebook for Rowan, Rook & Decard and created the
adventure ‘The Harp of Discord’ for Aegean Adventures. Her
favourite myth is the story of Eros and Psyche.
Andy Raff lives in Preston with his partner and cat. He’s been
a fan of Ancient Greek mythology since he was old enough to
read, and has been writing tabletop adventures in one form or
another since he got his first typewriter. Lead writer for
Profound Decision’s Empire game, he also writes the occasional
bit of horror fiction on the side. His favourite die is the D12.

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AEGEAN: BOOK OF HEROES

GAME DESIGN AND WRITING

© 2023 STOO GOFF. ALL RIGHTS RESERVED.

ELECTRONIC, MECHANICAL, PHOTOCOPYING, RECORDING, OR

PRODUCT CODE: WE0018

CHAPTER 1: INTRODUCTION .......................................................... 5

CHAPTER 4: CHTHONIC BEINGS ................................................. 30

CHAPTER 5: SLEEP NO MORE ...................................................... 47

GODS AND MONSTERS

CHAPTER 6: MYTHIC QUESTS ....................................................... 63

CHAPTER 8: THE GOLDEN SHIRT ................................................. 93

CHAPTER 9: THE PELIONION ..................................................... 103

The BOOK OF HEROES contains setting and adventure

In the Underworld section you’ll find detailed descriptions of the

GODS AND MONSTERS

Gods and Monsters provides ideas for running AEGEAN as a more

NOTE: Numbered page references in the margins which are prefixed

DESCENT INTO THE

A big thank you to my incredible group of playtesters who let me drag

The Underworld is a subterranean world where the shades of the dead

The realm that came to be known as the Underworld was formed by a

To the people of AEGEAN, the Underworld is not an idyllic afterlife or

Katabasis is more than simply a physical journey but also represents a

The most famous katabasis is that of Orpheus, the storied musician

Odysseus visited the Underworld in a rather bloodier way, sailing to

Journeys to the Underworld or bargains with the gods to return those

Why take a campaign to the Underworld? The Underworld forms a key

Some ideas for the motivations behind a katabasis journey:

◆ A messenger arrives from a small village near to the heroes’ polis:

Introducing the Underworld into a campaign opens up the potential

The Nekropolis has another large advantage: a potential trade route

In other cities, the term Nekropolis refers to the burial grounds

N E W R E TA I N E R : If the city has a Trade route with the

NEW BUILDING: Meaning ‘The Oratory of the Dead’, the

This arkhon has the following skills and abilities:

◆ Diplomacy: 2 ◆ Lore: 3 ◆ Medicine: 1

Good Relations: The Envoy is willing to sacrifice the wellbeing of their

The would be worshipper of Haides must make a pilgrimage to one of

Members of the cult of deathwalkers are said to be able to return to

Joining the Cult

If the PC successfully completes the rolls required they are permitted

The Nekropolis gives exciting opportunities for stories that focus on

◆ A cunning funerary cult nearby has bound Thanatos in his own

◆ The characters are sent to investigate bandit attacks in an

Navigating the Underworld calls for a mix of skills: Lore is useful to

Both the primordial personification of darkness, who is husband to

Akheron (meaning “distress”) was the son of Demeter, brother of

Waters of Akheron: A glass bottle containing the waters of the River

Kokytos (meaning “wailing”) is the river of lamentation where the souls

Waters of Kokytos: A glass bottle containing the waters of the River

Pyriphlegethon (meaning “fire-blazing”) is a river that coils around the

Waters of Phlegethon: A small glass bottle containing the waters of

The River Lethe (meaning “oblivion”) is the river of forgetfulness. It

Waters of Lethe: A small glass bottle containing the waters of the

The vast majority of Shades in the Underworld end up in Asphodel.

THE HOUSE OF NIGHT

THE HOUSE OF HAIDES

The seat of Haides’ power in the Underworld, this estate is thronged

THE HELM OF HAIDES

The Helm of Haides, also known as the Cap of Invisibility, is the

THE CORNUCOPIA OF PERSEPHONE

A night-black flower with gold-edged petals, the flowers that grow in

THE HEAD OF ORPHEUS