CURSE OF STRABO. • • CREDITS Lead Designer: Christopher Perkins Creative Consultants: Tracy and Laura Hickman Designers: Adam Lee, Richard Whitters, Jeremy Crawford Managing Editor: Jeremy Crawford Editor: Kim Mohan Editorial Assistance: Scott Fitzgerald Gray D&D Lead Designers: Mike Mearls, Jeremy Crawford Art Director: Kate Irwin Additional Art Direction: Shauna Narciso, Richard Whitters Graphic Designer: Emi Tanji Cover Illustrator: Ben Oliver Interior Illustrators: Dave Allsop, Fran�ois Beauregard, Mark Behm, Eric Belisle, Zoltan Boros, Jedd Chevrier, Daarken, Lake Hurwitz, Chuck Lukacs, Howard Lyon, Ben Oliver, Adam Paquette, Rob Rey, Chris Seaman, Richard Whitters, Kieran Yanner Cartographers: Fran�ois Beauregard, Mike Schley, Ben Wootten Project Managers: Neil Shinkle, Heather Fleming Product Engineer: Cynda Callaway Imaging Technicians: Sven Bolen, Carmen Cheung, Kevin Yee Prepress Specialist: Jefferson Dunlap Other D&D Team Members: Greg Bilsland, Chris Dupuis, David Gershman, John Feil, Trevor Kidd, Christopher Lindsay, Shelly Mazzanoble, Ben Petrisor, Hilary Ross, Liz Schuh, Matt Sernett, Nathan Stewart, Greg T ito Disclaimer: Wizards of the Coast cannot be held liable for any long term side effects of venturing into the dread realm of Raven/oft, such as /ycanthropy, vampirism, a fear of dead things, a fear of living things, an inability to sleep without a nightlight on and a +5 holy avenger under your pillow, and the unsettling suspicion that Strahd is too clever to be so easily defeated and that this is all just part of some grand scheme of his to extend his power beyond Barovia. You didn't think you could escape unless he wanted you to, did you? 62086517000001 EN ISBN: 978-0-7869-6598-4 First Printing: March 2016 9 8 7 6 5 4 3 2 1 This book is based on the 32-page D&D adventure Raven/oft published in 1983 by TSR, Inc. Here are that book's credits: Designers: Tracy and Laura Hickman Editor: Curtis Smith Graphic Designer: Debra Stubbe Illustrator: Clyde Caldwell Cartographer: David C. Sutherland Ill The following D&D books also provided material and inspiration: Cordell, Bruce R. and James Wyatt. Expedition to Castle Raven/oft. 2006. Elrod, P.N. /, Strahd: The Memoirs of a Vampire. 1993. Hickman, Tracy and Laura. Rahasia. 1984. Nesmith, Bruce with Andria Hayday. Realm of Terror. 1990. Pozas, Claudio. "Fair Barovia." Dungeon 207. 2012. TSR, Inc. Van Richten's Monster Hunter's Compendium, Volume One. 1999. ---. Van Richten's Monster Hunter's Compendium, Volume Three. 2000. Playtesters: Robert Alaniz,* Mal A'menz,* Glen Ausse, Jerry Behrendt, Teddy Benson, Anthony Caroselli,* Christopher D'Andrea,* Jason Fransella,* Jeff Galper, Elyssa Grant, Steve Heitke, Mary Hershey, Sterling Hershey, Justin Hicks, Shaun Horner, Donald Jacobs, James Krot, Yan Lacharite,* Jonathan Longstaff,* Michael LeClair, Ray Lillard, Eric Lopez, J.M., Matt Maranda,* Cris McDaniel, Randy Merkel, Lou Michelli,* Mike Mihalas,* Daniel Norton,* Lucas Pierce, Claudio Pozas,* John Proudfoot,* Rob Quillen II, Karl Resch,* Jason Riley, Sarah Riley, Arthur Severance,* Sam Sherry,* Zach Sielaff, David "Oak" Stark,* Jayson Thiry, Steve Townshend,* Kyle Turner,* Will Vaughn, Peter Youngs *This playtester provided feedback for a group. ON THE COVER The master of Ravenloft is having guests for dinner, and you are invited. Ben Oliver sheds light on the vampire Strahd von Zarovich, whose dark past is a tale to be told, and whose evil knows no bounds. DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, Ravenloft, the dragon ampersand, Player's Handbook, Monster Manual, Dungeon Master's Guide, all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other couiitries. All characters and their distinctive likenesses are property of Wizards of the Coast. This material is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or art work contained herein is prohibited without the express written permission of Wizards of the Coast. Printed in the USA. ©2016 Wizards of the Coast LLC, PO Box 707, Renton, WA 98057-0707, US_A. Manufactured by,Hasbro SA, Rue Emile-Boechat 31, 2800 Delemont, CH. Represented by Hasbro Europe 4The Square Stockley Park lJxbridee Middlesex UBJJ JEI UK.. CONTENTS Foreword ...................................................... 4 Ch. 10: The Ruins ofBerez ................. 161 Rictavio ...................................................... 238 Introduction ................................................. 5 Approaching theRuins .......................... 161 Strahd von Zarovich ............................... 239 Strahd Zombie ......................................... 241 Running the Adventure.............................. 5 Areas ofBerez.......................................... 162 Sidebar: A Classic Retold .......................... 5 Special Events.......................................... 166 Vladimir Horngaard ............................... 241 Marks ofHorror ........................................... 7 Ch.11: Van Richten's Tower ............... 167 Wereraven ................................................. 242 Ch.1: Into the Mists .................................. 9 Approaching the Tower .......................... 167 App. E: The Tarokka Deck.................. 243 Strahd von Zarovich ................................... 9 Areas of the Tower .................................. 168 App. F: Handouts ................................... 251 Fortunes ofRavenloft ............................... 11 Special Events.......................................... 171 Kolyan Indirovich's Letter (V. 1) .......... 251 Sidebar: Using Regular Ch.12: The Wizard of Wines.............. 173 Strahd's Invitation................................... 251 Playing Cards ......................................... 11 Approaching the Vineyard..................... 174 From the Tome of Strahd ...................... 252 AdventureHooks ....................................... 18 Approaching the Winery ........................ 174 Journal ofRudolph vanRichten ...........254 Ch. 2: The Lands ofBarovia ................. 23 Areas of the Winery ................................ 176 Kolyan Indirovich's Letter (V. 2) ..........256 Lay of the Land .......................................... 23 Special Events.......................................... 179 Journal of Argynvost ............................... 256 Alterations to Magic .................................. 24 Ch.13: The Amber Temple................. 181 Barovians .................................................... 24 Sidebar: Extreme Cold ........................... 181 Maps Sidebar: Barovian Names ....................... 25 Areas of the Temple ................................ 183 Barovia* ....................................................... 35 Sidebar: Barovian Calendar ................... 26 Sidebar: Amber Sarcophagi ................. 191 Tser Pool Encampment* ........................... 36 Vistani .......................................................... 26 Special Events.......................................... 196 Village ofBarovia*..................................... 42 Random Encounters................................. 28 Ch.14: Vester Hill .................................. 197 Church.......................................................... 46 Sidebar: Strahd's Spies ........................... 29 Areas of theHill ....................................... 197 CastleRavenloft Areas ofBarovia ........................................ 33 Sidebar: The Lands ofBarovia: Special Events......................................... 200 Common Features ................................. 33 Ch. 15: Werewolf Den ........................... 201 Ch.3: The Village ofBarovia................ 41 Sidebar: Travel through the Mists ....... 201 Areas of the Den ......................................203 Approaching the Village .......................... 41 Areas of the Village ................................... 43 Special Events............................................ 48 Special Events..........................................205 Epilogue .................................................... 207 Strahd Prevails ........................................ 207 Ch. 4: Castle Ravenloft ........................... 49 Strahd Dies ...............................................207 Random Encounters ................................. 49 Walls ofRavenloft ..................................... 52 App. A: Character Optioos..................209 Main Floor................................................... 54 CharacterBackground...........................209 Court of the Count..................................... 61 Sidebar: MonsterHunter's Pack .......... 209 Rooms of Weeping .................................... 64 Gothic Trinkets ........................................ 210 Spires ofRavenloft.................................... 69 App. B: Death House ............................. 211 Larders of Ill Omen................................... 74 History........................................................ 211 Dungeon and Catacombs ........................ 79 Rose and Thorn ....................................... 211 Map 1: RavenloftHeights• ........... Poster Map 2: Walls ofRavenloft* ................. 53 Map 3: Main Floor• ............................... 55 Map 4: Court of the Count• ................. 62 Map 5: Rooms of Weeping• ................ 65 Map 6: Spires ofRaven loft* ................ 71 Maps 7, 8, 9, 10: Spires ofRavenloft• .......................... 73 Maps 11, 12: Larders of Ill Omen, Dungeon and Catacombs* ............... 75 Elevator Trap .......................................... 76 Traps in Area K73 ................................. 80 Vallaki* ......................................................... 97 Blue Water Inn ........................................... 99 Burgomaster's Mansion ......................... 104 Wachterhaus ............................................. 111 Coffin Maker's Shop ............................... 116 Ch.5: The Town ofVallaki.................... 95 Sidebar: Level Advancement ................ 211 Vistani Camp ............................................120 Approaching the Town ............................. 95 Sidebar: DeathHouse's Features........ 212 OldBonegrinder ...................................... 127 Areas of Vallaki.......................................... 97 Areas of theHouse .................................. 212 Argynvostholt: Ground Floor and Special Events..........................:............... 123 Sidebar: Dungeon Features·················· 217 Second Floor......................................... 131 Endings ...................................................... 220 Argynvostholt: Third Floor, Ch. 6: OldBooegrioder ........................ 125 Approaching the Windmill ....................125 App. C: Treasures .................................. 221 Rooftop, and Beacon........................... 137 Areas of the Windmill ............................ 126 Tome of Strahd......................:.................. 221 Krezk* ........................................................ 144 The Megaliths........................................... 128 Magic Items............................................... 221 Abbey of Saint Markovia: Ch 7 Ar h I 129 App.D: Monsters and NPCs ............... 225 Ground Floor ........................................ 149 • : gynvost O t.............................. The Abbot..................................................225 Abbey of Saint Markovia: The Order of the Silver Dragon ........... 129 u Fl d C II 153 Sidebar: Revenants ofBarovia ............. 130 Animated Objects .................................... 225 pper oor an e ar ...................... Approaching the Mansion.'.................... 130 Baba Lysaga.............................................. 228 Tsolenka Pass ··········································158 A f A h I 130 Barovian Witch ........................................ 229 Baba Lysaga's Creeping Hut................. 163 reas o rgynvost o t........................... B • 164 S . 1 E 142 Blight, Tree.......·......................................... 230 erez ......................................................... pec1a vents..............................:........... y R ht , T. 170 Ezmerelda d'Avenir .................................230 an IC en s ower ............................... Ch. 8: The Village ofKrezk ................. 143 Areas of Krezk................................. :........ 143 Areas of the Abbey .......... ,....................... 147 Special Events..................... ,........... , ........ 155 Ch. 9: Tsolenka Pass.............................. 157 Areas of the Pass..................................... 157 Special Events.: ...:....:..,............:............... 159 Izek Strazni..............................:................ 231 Wizard of Wines Wioery........................ 175 Kasimir Velikov................ :....................... 232 Amber Temple: Upper Level ................. 182 Madam Eva ...........:................................. :.233 . Amber Temple: 1::0�1;,r Level.'..............:.. 190 Mongrelfolk .· · ... 234 · YesterHill...... :......:..:.....................,...:.,..... 199· : ;�d�::: I��·��;�·;·::::::::::::::::::::::::;.::�;::::::::;;!:. -t::� w. ::�:�.:'.:-:::::::·:::·::::·::::::::::::::::::::::::::;�� Rahadin ............... : ......:...........:...............:..-.236' *Appears ori the poster map FOREWORD: RAVENLOFT REVISITED E TURNED THE CORNER, AND THERE WAS a vampire. I groaned and rolled my eyes. It was 1978, and I was playing in one of my first dungeon adventures. It was being run by a friend I had known in high school,John Scott Clegg, and it was typical of the type of adventure that people played in those days. It was all about exploring a hodgepodge collection of rooms connected by dungeon corridors, beating up the monsters that we encountered, searching for treasure, and gaining experience points. Now we were face to face with random encounter number thirty-four: a vampire. Not a Vampire with a capital V, but a so-many-Hit-Dice-with-such-and-such-an Armor-Class lowercase vampire. Just another monster in the dungeon. I remember thinking at the time, What are you doing here? This creature seemed completely out of place with the kobolds, ores, and gelatinous cubes we had seen thus far. This was a creature who deserved his own set ting and to be so much more than just a wandering mon ster. When I came home from that game, I told all these thoughts to Laura. That was when Strahd von Zarovich was born. Strahd would be no afterthought-he demanded his own setting, his own tragic history. Laura and I launched into researching the mythology and folklore surrounding the vampire. We started with the vague, black-and-white image of Bela Lugosi in 1931, but found so much more. The first "modern" literary foundation of the vampire was penned by John William Polidori based on a frag ment of a story by Lord Byron. It was while at the Villa Diodati-a rented house next to Lake Geneva, Switzer land-that Byron and Polidori met Mary Wollstonecraft Godwin and her husband-to-be, Percy Shelley. One night in June, Byron suggested that they each write a ghost story. Mary Shelley's contribution to the effort would later become Frankenstein. The short story "The Vampyre," published in 1819, was Polidori's contribu tion. He was Byron's personal physician, and the first of the so-called "romantic" vampires under Polidori's hand was actually modeled after Lord Byron. Byron-like the fictional vampires that he inspired, from Polidori's Lord Ruthven down through the penul timate work of Bram Stoker-was a decadent predator, an abuser hidden behind a romantic veil. He was a comely and alluring monster-but a monster neverthe less. The romantic vampire of the earliest years of the genre was not just a spouse abuser but a spouse killer, the archetype of abuse in the worst kind of destructive codependency. For Laura and me, those were the elements that truly defined Strahd von Zarovich-a selfish beast forever lurking behind a mask of tragic romance, the illusion of redemption that was ever only camouflage for his prey. Initially we were going to title the adventure Vampyr one of a series of games we called Nightventure that Laura and I were self-publishing back in 1978. The castle was called Ravenloft, and when Halloween came around each year, our friends asked us if we could play "that Ravenloft game" again ... and so the better title won out. It was, in part, because of this design that I was hired by TSR, Inc., to write DUNGEONS & DRAGONS adventures in 1982. Soon thereafter, 16 Ravenloft was published. Since then, fans of Ravenloft have seen many different creative perspectives on Barovia (a country which, by absolute coincidence, is featured in a 1947 Bob Hope movie called Where There's Life). It continues to be one of the most popular DUNGEONS & DRAGONS adventures of all time. In its various incarnations, each designer has endeavored to bring something new to the ancient leg end of Strahd, and to each of the.m we are grateful. But the vampire genre has taken a turn from its roots in recent years. The vampire we so often see today exemplifies the polar opposite of the original arche type: the lie that it's okay to enter into a romance with an abusive monster because if you love it enough, it will change. When Laura and I got a call fr.om Christopher Perkins about revisiting Ravenloft, we hoped we could bring the message of the vampire folktale back to its original cau tionary roots. The talented team at Wizards of the Coast not only graciously took our suggestions but engaged us in a dialogue that delivered new insights on the night mare beyond the gates of Barovia. Now we invite you again a� our guests to pass through the Svalich Woods if you dare. For here the romance is tragically dangerous ... and a true monster smiles at your approach. Tracy Hickman . May 2015 INTRODUCTION NDER RAGING STORM CLOUDS, A LONE l figure stands silhouetted against the an cient walls of Castle Ravenloft. The vam pire Count Strahd von Zarovich stares down a sheer cliff at the village below. A cold, bitter wind spins dead leaves about him, billowing his cape in the darkness. Lightning splits the clouds overhead, casting stark white light across him. Strahd turns to the sky, re vealing the angular muscles of his face and hands. He has a look of power-and of madness. His once hand some face is contorted by a tragedy darker than the night itself. Rumbling thunder pounds the castle spires. The wind's howling increases as Strahd turns his gaze back to the village. Far below, yet not beyond his ken, a party of adventurers has just entered his domain. Strahd's face forms a twisted smile as his dark plan unfolds. He knew they were coming, and he knows why they have come-all according to his plan. He, the master of Ravenloft, will attend to them. Another lightning flash rips through the darkness, its thunder echoing through the castle's towers. But Strahd is gone. Only the howling of the wind-or perhaps a lone wolf-fills the midnight air. The master of Ravenloft is having guests for dinner. And you are invited. RUNNING THE ADVENTURE Curse of Strahd is a story of gothic horror, presented here as a DUNGEONS & DRAGONS roleplaying game adventure for a party of four to six adventurers of levels 1-10. A balance of character classes is helpful, since the adventurers will face a variety of challenges. Each char acter class will certainly have its moment to shine. A CLASSIC RETOLD This adventure is a retelling of the original Raven/oft ad venture, which was published in 1983 byTSR, Inc. In the years since, the original has gained a reputation as one of the greatest Du NG EONS & DRAGONS adventures ever, and it went on to inspire the creation of a campaign setting of the same name in 1990: Ravenloft, home of the Do mains of Dread. Module 16: Raven/oft, written by Tracy and Laura Hick man, broke new ground by presenting a D&D adventure that was as much story-driven as location-based, featuring a villain who was complex and terrifying. Castle Raven loft, with its amazing three-dimensional maps, remains to this day one of the most iconic and memorable of all D&D dungeons. This book includes the original adventure, as well as ex panded material developed in consultation withTracy and Laura Hickman. It expands what we know about the lands around Castle Ravenloft and sheds new light on the dark past of the castle's lord. The lands of Barovia are from a forgotten world in the D&D multiverse, and this adventure gives glimpses into that world. In time, cursed Barovia was torn from its home world by the Dark Powers and bound in mist as one of the Domains of Dread in the Shadowfell. This book is meant for you, the Dungeon Master, alone. We recommend you read the entire adventure before attempting to run it. It assumes that you have the fifth edition Player's Handbook, Dungeon Master's Guide, and Monster Manual. The Monster Manual contains stat blocks for most of the monsters and nonplayer characters (NPCs) found in this adventure. Descriptions and stat blocks for new monsters and NPCs are provided in appendix D. When a creature's name appears in bold type, that's a visual cue pointing you to the creature's stat block in the Mon ster Manual. If the stat block is in appendix D, the adven ture's text tells you so. Spells and nonmagical equipment mentioned in the adventure are described in the Player's Handbook. Magic items are described in the Dungeon Master's Guide, unless the adventure's text directs you to an item's description in appendix C. Text that appears in a box like this is meant to be read aloud or paraphrased for players when their characters first arrive at a location or under a specific circumstance, as described in the text. Indoor and nighttime descrip tions are written with the assumption that the adventur ers are using a torch or other light source to see by. STORY OVERVIEW Adventurers from a foreign land find themselves in Barovia, a mysterious realm surrounded by deadly fog and ruled by Strahd von Zarovich, a vampire and wiz ard. Using a deck of tarokka cards to predict their fu ture, a fortune-teller named Madam Eva sets them on a dark course that takes them to many corners of Barovia, culminating with a vampire hunt in Castle Ravenloft. Madam Eva's people are called the Vistani. They travel in covered wagons from world to world, luring strangers into Strahd's domain. Barovia is a land of ghosts, werewolves, and other fell creatures. The wilderness hides many secrets, includ ing forgotten ruins and battlefields that tell the story of Strahd's life as a conqueror. Adventurers who explore the wilderness find the remnants of Strahd's ancient en emies, not all of them as dead as one might expect. For the people of Barovia, there is no escape from this harsh. land. The town of Vallaki stands ready to defend itself against the servants of Strahd, but it's far from the sanctuary it purports to be. The village of Krezk lies near the edge of Strahd's domain, its abbey now in the clutches of evil, misguided creatures. Of all the settlements in Strahd's domain, the village �f Barovia is by far the most 'oppressed. M�ny of its shops a:e dosed, a.nd_the loqals)1a:ye silccumqe_d to .., . despair. -��·is weU known. that_ Stral:ia desires the burgo�_ · m;:ister:s'�dopted ctaugliter,·Ireena Koly,ma. The villag-·_ : ers·;n�ither-prote�trior h;:itm her, lest t.h,�y incur the'vam� pire's wrath. Few know that Ireeria bears aq .μncanny · resemblance to Taty�na, Stiahd's dead· belove·d: ·' JNTRODUCTION 6 The village of Barovia cowers in the shadow of Cas tle Ravenloft, Strahd's home and fortress. The castle stands atop a great spire of rock, invincible and ever watchful. Every night, thousands of bats fly out of the castle to feed. It is said that Strahd sometimes flies with them. Barovia will never be safe until the evil in his cas tle is destroyed. Once Strahd becomes aware of the adventurers, he and his spies watch them closely. When the time is right, Strahd invites his "guests" to Castle Ravenloft. He aims to turn them against one another, torment them, and kill them, as he has done with so many other visitors. Some will become undead thralls. Others will never rise again. The adventurers' best hope of defeating Strahd is to learn his secrets, for he is no ordinary vampire. Guided by Madam Eva's card reading, they must scour his do main and his castle for magic items that might weaken or slay him, all the while trying to stay alive. Although the adventurers can escape by slaying Strahd, he can't be truly destroyed. Barovia is his prison, and not even death can free him from his curse. The adventure ends when either Strahd von Zarovich or the characters are defeated. Your goal is to keep Strahd in play for as long as possible, using all the abili ties and resources at his disposal. ADVENTURE STRUCTURE Much of the adventure's action is driven by the clash between the adventurers' decisions and Strahd's goals, and the adventurers and the vampire are all caught in strands of fate that are represented by a special card reading detailed in chapter 1, "Into the Mists." Before you run the adventure, you need to conduct that reading to determine the location of several items that are key to the story, as well as one of the locations where Strahd can be found. Chapter 1 also outlines Strahd's goals, and it suggests adventure hooks to draw the player characters into the cursed realm of Barovia. If the characters are 1st level, the character background in appendix A is available to them, and consider starting their time in Barovia with the mini-adventure "Death House" in appendix B. Chapter 2, "The Lands of Barovia," provides an over view of the realm and includes special rules for it and its people, including the mysterious Vistani. Chapters 3-15 detail areas that correspond to places on the map of Barovia in chapter 2. The epilogue offers ways for you to end the adventure. Appendix C details the special ite.ms -:- magical or oth erwise-introduced in .the adventure� and appendix D provides stat blocks for Strahd.'.arnfvario�sNPCs and monsters that can be met in Baro�ia.' Appendix E shows the tarokka cards that 'the Vist'aoi us:e for their fortune telling, and appendix'F contains'handouts:for you to show the players. CHARACTER LEVELS · The adventure is meant for characters of levels 1-10 and includes threats for those levels and beyond. Strahd can be an especially deadly challenge at these levels. It TNTRODUOTION is assumed that the characters will gain levels over the course of the adventure, as well as acquire allies and powerful magic items that can tip the scales in their favor. Characters who head directly to Castle Ravenloft without first increasing their power will likely die. You can award experience points for the defeat of foes, use milestone awards, or a mixture of both. Given the fact that much of the adventure involves social interac tion and exploration, rather than combat, your work will probably be easier if you use milestone awards. Appro priate milestone awards include the following: Finding Artifacts. The characters gain a level when they obtain the Tome of Strahd, the Sunsword, or the Holy Symbol of Ravenkind. Defeating Villains. The characters gain a level when they defeat the featured antagonist(s) in a location, such as the hags in Old Bonegrinder (chapter 6). Accomplishing Story Goals. The characters gain a level when they accomplish something significant, such lighting the beacon of Argynvostholt (chapter 7), thwarting the druids' ritual atop Yester Hill (chapter 14), or forging an alliance with Ezmerelda d'Avenir (appendix D). Appendix B, "Death House," uses milestone awards by way of example. Be prepared for the fact that the adventure is exceed ingly open-ended-one of the hallmarks of the original Ravenloft. The card reading in chapter 1 and the adven turers' choices can lead them all over the map, and a party can easily wander into an area well beyond their power. If you'd like to steer them toward places that correspond to their level, consult the Areas by Level table, but beware of undermining the sense that the characters' choices matter. Sometimes the adventurers will simply need to flee or hide when they are out of their depth. If an area of the adventure ends up feeling free of mystery or danger, consider using tips from the "Marks of Horror" section to increase the ominousness. If a combat encounter feels too easy, either (a) guide it to its end as quickly as possible or (b) increase the threat by raising a foe's hit point maximum to the upper end of its hit point range, by adding monsters/traps, or both. AREAS BY LEVEL Avg. Level Area Chapter 1st-3rd Village of Barovia 3 4th Town ofVallaki 5 4th Old Bonegrinder 6 5th Village ofKrezk 8 5th Wizard of Wines Winery 12 6th Van Richten's Tower 11 6th Vester Hill 14 7th Argynvostholt: ... 7 7th Werewolf Den 15 8th Tsole�ka Pass .. 9 8th The Ruins of Berez 10 9th Castle Ravenloft 4 9th The Amber Temple 13 MARKS OF HORROR A gust of air like the foul-smelling breath of some hor rible monster greets the adventurers as they climb the steps of a tower in Castle Ravenloft. Nearing the top, they begin to hear the beating of a heart in the darkness above. Not a human heart, but the heart of something monstrous and horrible; Such is the nature of gothic horror: fear bred by anticipation and the dark realization that all will be truly and horribly revealed in time. The following tips can help you make this adventure a chilling experience for you and your players. THE UNKNOWN Horror is born out of fear of the unknown. Our fear is heightened when the darkness engulfs us and we can't see, or when the truth is behind a locked door, covered by a sheet, or buried in the soft earth. It's not the mon ster, but its shadow, that breeds horror. The more we know about a monster, the less we fear it, so the trick is to keep it out of the light for as long as possible. Here are two tricks to heighten fear of the unknown: • When it seems as though the characters have ev erything under control, you can have a gust of wind suddenly blow out their torches, plunging them into darkness. Before a monster appears, take a moment to describe the odor that precedes it, the eerie sound it makes, or the weird shadow it casts. FORESHADOWING Foreshadowing is about finding clues to a horrible truth yet to be revealed. Consider the following examples: Before characters encounter a monster, hint at the monster's presence with clues such as claw marks, gnawed bones, and bloodstains. • Whenever characters take a long rest, give one char acter a prophetic dream in which he or she glimpses something yet to be found or encountered. AGE Barovia is the grim reflection of its undead master. Al most everything here is old and timeworn. Everywhere the adventurers go, they should be reminded of death, decay, and their own mortality. Here are a couple of ways to reinforce these pervasive themes: • Take time to describe the rotting timbers of buildings, the faded and moth-eaten clothing of the Barovian peasantry, the worm-ridden pages of old books, and the rust on iron fences and gates. • A character gazing into a mirror, a pool, or other re flective surface might glimpse an older, more decrepit version of himself or herself. LIGHT A tale that is perpetually dark in tone becomes tiresome very quickly. It needs 'to feature the occasional ray of light for contrast and to create a sense of hope. Monsters and other terrors must be offset with creatures that are kind and lovable, giving-the characters ev_en_rnore rea- sons to stand against the darkness. Here are a couple of ways to add glimmers of light to a tragic tale: • In a land as dreary as Barovia, take the time to de scribe the occasional scene of beauty, such as a pretty flower growing atop a grave. • Make sure that the heroes have contact with NPCs who are honest, friendly, and helpful, such as the Mar tikovs in Vallaki or the Krezkovs in Krezk. PERSONIFICATION Ascribing human characteristics to an inanimate thing is one way to turn something ordinary into something malevolent. A groaning house, the wailing wind, grasp ing mud, and a squatting chest aren't just mundane things-they're characters in your story, made all the creepier thanks to their humanlike traits. Torches sput ter nervously, rusty hinges shatter silence with their sudden cries of anguish, and cobwebs quietly beckon us to our doom. Here are more examples: Imagine darkness as a silent crowd that follows the characters everywhere and stares at them while they sleep. • Imagine trees as towering giants that stand idle yet ever watchful as characters face the perils of the Sva lich Woods alone. DETAILS In a horror story, there's no telling where danger might be lurking. A leering gargoyle might be a monster in dis guise, or merely a fiendish sculpture. A mirror hanging on a wall might have the power to transfix all who gaze into it, or it might be nothing out of the ordinary. In a horror story, taking the time to describe an object in de tail draws attention to it, makes one suspicious of it, and might distract from the real danger. Here are a couple of tricks you can use: • In a given encounter area, choose one object or fea ture to describe in some detail. It need not be import ant to the story. • Allow the character who has the highest passive Wis dom (Perception) score to see, hear, or smell some thing that no one else can perceive. HUMOR There are no stranger bedfellows than horror and hu mor. Tension can't be sustained indefinitely, so a dash of humor provides a respite, giving horror a chance to sneak up on us later and catch us off guard. While hu morous situations will occur naturally in the course of running the adventure, here are some tips for creating humor when needed: Allow NPCs (even evil ones) to tell jokes, speak in a funny-voice, or behave idio,tically. Even _morbid humor is better than none. ..: When a hero, villain, or morister,'foll� a natural 1:on .:: a:n atta<;k·roli,. ability check, 0� -�a�i'iig.. throw, d�scribe' ,' a hum-�'io�s rriisna:p'.th:at occurs as·a: iesult.of the low roll; such' a1, a char11cter �ccidentally kn9ckini. over a lamp and setting-some drapes on fire·while trying'to hide o'r move silently: .. , < - ' . .. CHAPTER 1: INTO THE MISTS ERIE MISTS SURROUND BAROVIA AND bind its inhabitants there. This chapter gives you the information you need to prepare for the adventurers' journey into those mists. The chapter first outlines the history and goals of Count Strahd von Zarovich so that you are prepared for what awaits the characters. In the "Fortunes of Raven Joft" section, the chapter walks you through the tarokka card reading that helps set the stage for the adventure's action, and the chapter closes with adventure hooks that you can use to draw the characters into the horror ofBarovia. STRAHD VON ZAROVICH Strahd von Zarovich, a vampire and wizard, has the sta tistics presented in appendix D. Although he can be en countered almost anywhere in his domain, the vampire is always encountered in the place indicated by the card reading later in this chapter, unless he has been forced into his tomb in the catacombs of Castle Ravenloft. THE VAMPIRE'S HISTORY In life, Strahd von Zarovich was a count, a prince, a soldier, and a conqueror. After the death of bis father, KingBarov, Strahd waged long, bloody wars against his family's enemies. He and his army cornered the last of these enemies in a remote mountain valley before slay ing them all. Strahd named the valleyBarovia, after his deceased father, and was so struck by its scenic beauty that he decided to settle there. Queen Ravenovia lamented the death ofBarov and was fearful of Strahd. War had made him cold and ar rogant. She kept her younger son, Sergei, away from the battlefield. Strahd envied the love and attention his mother visited upon his brother, so in Barovia he re mained. Peace made Strahd restless, and he began to feel like his best years were behind him. Unwilling to go the way of his father, Strahd studied magic and forged a pact with the Dark Powers of the Shadowfell in return for the promise of immortality. Strahd scoured his conquered lands for wizards and artisans, brought them to the valley ofBarovia, and com manded them to raise a castle to rival the magnificent I AM THE ANCIENT. I AM THE LAND. My beginnings are lost in the dark ness of the past. I am not dead. Nor am I alive. I am undead,Jorever. -.Tome of Strahd fortresses of his ancestral homeland. Strahd named the castle Ravenloft, after his mother, to demonstrate his Jove for her. When it was complete, Strahd commanded his mother and brother to come toBarovia and stay with him. Sergei eventually took up residence at Raveoloft, but Ravenovia passed away while traveling to her name sake. In sorrowful disappointment, Strahd sealed his mother's body in a crypt beneath the castle. Strahd's attention soon turned to Tatyana, a young Barovian woman of fine lineage and remarkable beauty. Strahd believed her to be a worthy bride, and he lav ished Tatyana with gifts and attention. Despite Strahd's efforts, she instead fell in love with the younger, warmer Sergei. Strahd's pride prevented him from standing in the way of the young couple's Jove until the day of Sergei and Tatyana's wedding, when Strahd gazed into a mirror and realized he had been a fool. Strahd mur dered Sergei and drank his blood, sealing the evil pact between Strahd and the Dark Powers. He then chased Sergei's bride-to-be through the gardens, determined to make her accept and love him. Tatyana hurled herself off a castle balcony to escape Strahd's pursuit, plunging to her death. Treacherous castle guards, seizing the opportunity to rid the world of Strahd forever, shot their master with arrows. But Strahd did not die. The Dark Powers honored the pact they had made. The sky went black as Strahd turned on the guards, his eyes blazing red. He had be come a vampire. After slaughtering the guards, Strahd saw the faces of his father and mother in the thunderclouds, looking down upon him and judging him. He had destroyed the family bloodline and doomed all ofBarovia. The castle and the valley were spirited away, locked in a demiplane surrounded on all sides by deadly fog. For Strahd and his people, there would be no escape. • IO Strahd has been the master of Ravenloft for centuries now. Since becoming a vampire, he has taken several consorts-none as beloved as Tatyana, but each a per son of beauty. All of them he turned into vampire spawn. Although he feeds on the hapless souls of Barovia, they provide little nourishment and no comfort. From time to time, strangers from faraway lands are brought to his domain, to play the vampire's game of cat-and-mouse. Strahd savors these moments, for though these strang ers offer him no lands to conquer, they aren't so easily destroyed and therefore provide a welcome diversion. Strahd believes that the key to his escaping Barovia lies in finding someone worthy to rule in his stead, but his arrogance are so indomitable that no one is ever good enough in his eyes. He believes in his cold heart that only a von Zarovich as great as he or his father could sway the Dark Powers to release him. STRAHn's GoALs Strahd has the following goals in the adventure. TURN !REENA KOLYANA Strahd's unrequited love for Tatyana drove him to slay his brother, Sergei. Some time ago, Strahd glimpsed the young woman Ireena Kolyana in the village of Baro via and felt extreme deja vu. Ireena looked exactly like Tatyana! Strahd now believes that Ireena is the latest reincarnation of Tatyana, and thu