Curse of Strahd: Reloaded by DragnaCarta (2024)

To Do

add a DM Tips section

Place one ghoul at each of the entrances to the intersection and cut out the round that the ghouls spend digging themselves out (just make them all start prone). This funnels the ghouls toward the PCs, keeping the chokepoint effect, but also lets all of the PCs do their normal fun stuff, since the PCs themselves aren't bottlenecked.

All status conditions on Strahd are cured when he switches forms.

Tweak Vlad's motivation - he views himself as Strahd's jailer (make sure he doesn't break out) and as his enabler/tormenter (make sure Strahd's existence is hellish) - getting everything he wants would be a curse for Strahd (he lives to conquer)

JaeOnasi comments.

Change the Weaver's symbol to something other than a spider. (/u/KrempelRitter)

Have Lucian mention that Tasha Petrovna is his ancestor and that her bones and holy symbol are in Ravenloft.

Check Reddit for attributions/editors. 1; 2; 3; 4

Plan what Strahd does in the mid/endgame - trying to recruit/corrupt PCs?

Check /u/justadmhero comments on three-phase statblock on Reddit chat.

Explicitly remove the Soulless

Add expectation: "Barovia is a land of secrets, conspiracies, hidden allies, and potential enemies. try to avoid alienating people or causing wanton harm without a purpose; you will only make things more difficult for yourself."

Add timeline! multi-column, one column for each faction (strahd, strahd's enemies, etc.) with different headings and stuff

add sandbox discussion to Setting Expectations

Add skill challenge appendix and copy/paste it for Death House.

Rebalance encounters for different party sizes - appendix?

Galahadred Changes. Fix statblock issues in Volenta's 2nd Form (repeated Awakened Bloodlust). Include a section explaining how DMs are meant to use Strahd in the module. Ensure that Strahd has a similar feature to the other two forms that if he's in his Third Form and is reduced to 0 hp, he automatically transitions to another form that has at least 1 hp remaining. Confirm if Strahd loses access to a form forever when that form is reduced to 0 hp, but he isn't completely killed. Strahd cycles through those forms freely but prefers to always use the third phase last. He regains all HP in each form after a long rest.

Relative-Paramedic94 Changes. Stella and Erasmus met in the Ethereal Plane. Character creation involves choosing something they're trying to get to quickly outside of Barovia before they're trapped in the mists (e.g., "get to my dying father before he passes"). Give advice on how to RP ghost!Rose & Thorn must trustworthily, to avoid player attacks. Let ghouls drag paralyzed PCs away to feast. Make reliquary items into module foreshadowing. Reduce damage on skill challenge to avoid killing Active PC. PCs can obtain Elisabeth's amber shard, which can resurrect one of them if they die during they escape. Arik is Strahd's spy, not the Vistana, sending messages via bat.

Town of Vallaki. Add notes about changes to Vallaki, including that spear-tips are silvered, but only 1 of 50 arrows are silvered.

Proofreading timeline consistency, especially regarding Mordenkainen-related events.

Blue Water Inn. Muriel flies up to the roof of the Blue Water Inn upon arrival.

Morning at the Inn. Urwin talks to the PCs about Fiona and Vargas. A drunken Bluto interrupts breakfast and rants about the "giant bird" he just saw fly over Lake Zarovich. A charmed Vallakian posts WANTED posters for Van Richten along the streets. Ernst Larnak approaches the PCs with an invitation.

Festival of the Blazing Sun. Change Van Richten's stat block to resemble an inquisitive rogue / monster slayer ranger, not a cleric.

Introduction. Draft Using This Supplement, Running Session Zero, Campaign Primer

Author's Notes. Add an Author's Note regarding the importance of Strahd's Forbiddance feature. Then, add Author's Notes for all other sections from Barovia to Vallaki.

Appendices. Update Bibliography and add citations. Complete Acknowledgments.¹

Art. Add JamesRPGArt images and inkblots to final arc pages.

Cover. Add foreword and cover page.

In introduction, add critical path of the entire module.

nungunz Changes. See notes here.

Madam Eva greets the PCs with cryptic names related to Tarokka cards and delivers cryptic warnings and foretellings before the Tarokka reading.

Add the importance of NPC relationships

Clarify that Strahd's phases do not regenerate when not in use, and regain all hit points after a long rest.

None of the players are native to Daggerford; all of them arrived relatively recently.

Welcome to Barovia—your new home away from home—and to Curse of Strahd: Reloaded, the Dungeon Master's guide to running the Curse of Strahd adventure.

Curse of Strahd is one of the most popular Dungeons & Dragon's campaigns of all time—but also one of its most challenging to run. Curse of Strahd is an ambitious adventure, starring a high-agency villain, a sprawling sandbox, and an encyclopedic collection of lore and backstory. That's why this guide's first piece of advice is simple: Don't panic.

This guide aims to accomplish two things:

• tighten up the original Curse of Strahd module by filling in gaps, tying together loose ends, and improving gameplay and narrative design
• streamline the process of running Curse of Strahd by curating it into a table-ready, Dungeon Master-friendly format

This guide has not been written with a primary goal of adding new content. Where new content has been added, an effort has been made to do so judiciously, prefering to build upon existing locations, characters, and storylines rather than crafting new ones wholesale.

Running the Campaign

While Curse of Strahd, like most official campaign modules, is organized around specific areas and locations, Curse of Strahd: Reloaded is organized around narratives:

• Arcs. An arc is a high-concept adventure with a particular goal (e.g., "restore the bones of Saint Andral").
• Chapters. A chapter is a portion of an arc that takes place within a particular location (e.g., "the coffin-maker's shop").
• Scenes. A scene is a particular scene that unfolds at a particular time and place within a chapter (e.g., "battling the vampire spawn").

While no Dungeons & Dragons campaign can be perfectly predicted, this guide uses a strategy of strong "dramatic questions," flexible narrative design, and the author's experience in running Curse of Strahd campaigns to craft a "critical path" of arcs, chapters, and scenes that are most likely to lead your players on your journey through Barovia.

However, not all arcs, chapters, or scenes in this guide are necessary to give your players a full Curse of Strahd experience—and, as a Dungeon Master, you should feel empowered to let your creativity run free when planning your unique campaign. As such, you can see the Campaign Timeline below for more information on which arcs, chapters, and scenes are most critical to this guide, and which may be most easily changed, expanded, or removed.

Running the Game

Choosing a Hook

In contrast to the original Curse of Strahd module, this guide offers a single, original adventure hook to guide the players into Barovia. In this hook, Death House serves as a portal to Strahd's domain: the players enter Death House in their own world, and—upon defeating or pacifying the cult—emerge into the land of Barovia.

However, this hook can be implemented in two possible ways:

• Lost in the Mists. In this version, the players are members of a mercenary adventuring party that has been hired to investigate a series of mysterious disappearances tied to a particular house (Death House). This hook focuses the players' attentions solely on Strahd's tyranny and the Barovians who suffer under his rule, encouraging them to immerse themselves in the campaign's lore and to develop unique relationships with its diverse cast of characters.
• Barovian Relics. In this version, one or more players possess certain relics that originated from Barovia and are tied to their backstories. When Death House manifests nearby, those relics are drawn to it, encouraging the players to enter it to investigate. (Any players who do not wish to craft a backstory may instead choose to be a mercenary investigating recent disappearances, as in Lost in the Mists.) This hook focuses the players' attentions on their own interests and personal connections to the land of Barovia, encouraging them to invest their attention in NPCs and locations that are tied to their unique relic.

In general, Lost in the Mists may be viewed as a "pure" version of Curse of Strahd, focusing its narrative on the characters and themes that make this adventure unique. By contrast, Barovian Relics is best used by Dungeon Masters who are passionate about Barovia's gothic atmosphere and environment, but whose players require a personal connection to the campaign to remain emotionally invested.

Character Creation

In order to give players additional opportunities to engage with the world and characters of Curse of Strahd, this guide provides additional Flaws and Bonds for your players to choose from when creating their characters.

Each flaw or bond is secretly inspired by a similar or resonant NPC from the Curse of Strahd adventure. Encountering and learning about NPCs that resonate with these aspects should provide your players with opportunities to explore and develop their own characters' storylines.

If you have decided to use the Barovian Relics adventure hook (see above), each player may also choose a distinct Motivation that drives their entry into Barovia. Each motivation is tied to a unique Barovian relic that players receive before the start of the campaign.

Addiction

The flaw of addiction echoes Doru's struggle with his vampiric nature, as well as the Barovian refugees' desire for the dream pastries made by the night hags of Old Bonegrinder. When the players first encounter Doru in Act I, Arc B: Welcome to Barovia or the Barovian refugees in Act I, Arc C: Into the Valley, use them as a dark reflection of the lowest points to which the player could descend if they fail to fulfill their arc.

Ambition

The flaw of ambition echoes Strahd's need for power and control, as well as Lady Fiona Wachter's desire to rule over Vallaki. When the players first encounter Lady Wachter in Act II, Arc F: Lady Wachter's Wish or hear of Strahd's exploits from Kasimir Velikov or Sir Vladimir Horngaard, use them as a dark reflection of the dangerous and lonely path that ambition can lead to if the player fails to fulfill their arc.

Anger

The flaw of anger echoes Sir Vladimir Horngaard's obsession with obtaining revenge against Strahd for his devastation of the Order of the Silver Dragon, as well as Dr. Rudolph van Richten's regrets regarding the Vistani that he killed following the death of his son Erasmus. When the players first encounter Vladimir or van Richten, use them as a dark reflection of the harm and suffering that vengeance can lead to if the player fails to fulfill their arc.

Anxiety

The flaw of anxiety echoes Danika Dorakova's quiet concerns about her ability to keep her children, Brom and Bray Martikov, safe from Strahd and his creatures—especially given her involvement with the Keepers of the Feather, an insurgent organization. As the player gets to know Danika, use her to encourage them to fulfill their arc by seeking out agency, confidence, courage, and hope—even in the face of adversity.

Apathy

The flaw of apathy echoes Lady Fiona Wachter's inability to conceive of a future without Strahd's tyranny, and Lumdilla Vilsevic's nihilistic view of fate and humanity. When the player first encounters Lady Wachter, use her to explore discussions of the hopelessness and despair that can lead to such apathy, as well as a dark reflection of the harm and bitterness that apathy can lead to if the player fails to fulfill their arc. When the player first encounters Ludmilla, use her to explore discussions of futility and fate, as well as a dark reflection of the agency and will that the player will sacrifice if they fail to fulfill their arc.

Control

The flaw of control echoes Strahd's power over his servants (especially his vampire spawn), Izek's desire for Ireena, and Sir Vladimir Horngaard's subjugation of the Order of the Silver Dragon. When the player first encounters Strahd and Vladimir, use them to explore discussions of hierarchy, power, and free will, as well as a dark reflection of the harm that the player may cause if they fail to fulfill their arc. When the player first encounters Izek, use him as a dark reflection of the path that a pathological need for control might lead to.

Cynicism

The flaw of cynicism echoes Father Lucian Petrovich's quiet doubts about the power of faith to keep Barovia safe, and Ludmilla's

Denial

The flaw of denial echoes Sir Godfrey Gwilym's

Doubt

The flaw of doubt echoes Ireena Kolyana's journey

Greed

The flaw of greed echoes Strahd's and Baron Vargas Vallakovich's

Grief

The flaw of grief echoes Baron Dmitri Krezkov and Baroness Anna Krezkova's, as well as Ireena Kolyana's journey

Guilt

The flaw of guilt echoes Father Donavich and Victor Vallakovich's

Hesitation

The flaw of hesitation echoes Arabelle's

Hubris

The flaw of hubris echoes the Abbot's and Mordenkainen's and Anastrasya's

Impiety

The flaw of impiety echoes the Abbot's, and Volenta's

Insecurity

The flaw of insecurity echoes Ismark Kolyanovich's and Ireena Kolyana's

Isolation

The flaw of isolation echoes Dr. Rudolph van Richten's and Sir Godfrey Gwilym

Naivete

The flaw of naivete echoes Urwin Martikov's and Gertruda's

Narcissism

The flaw of narcissism echoes Mordenkainen's and Baron Vargas Vallakovich

Nostalgia

The flaw of nostalgia echoes Kasimir Velikov's and Baba Lysaga's

Obsession

The flaw of obsession echoes Izek Strazni and Baba Lysaga's

Paranoia

The flaw of paranoia echoes Baron Vargas Vallakovich and Volenta

Pride

The flaw of pride echoes Millivoj's and Helwa's

Recklessness

The flaw of recklessness echoes Ezmerelda d'Avenir's and Muriel Vinshaw's

Resentment

The flaw of resentment echoes Bildrath Cantemir's and Lady Fiona Wachter's

Ruthlessness

The flaw of ruthlessness echoes Rahadin's

Sanctimony

The flaw of sanctimony echoes the Abbot's

Shame

The flaw of shame echoes Gadof Blinsky's and Baron Dmitri Krezkov's

Spite

The flaw of spite echoes Ezmerelda d'Avenir's and Nikolai and Karl Wachter's

Stubbornness

The flaw of stubbornness echoes Davian Martikov's and Urwin Martikov's

Timidity

The flaw of timidity echoes Baroness Lydia Petrovna's

Bonds

Each player should choose one or more bonds from the following table.Once a player has chosen a bond, use the relevant section below to aid the player in developing their character's history and connections.

Motivations

If you have chosen to use the Barovian Relics adventure hook for one or more players, have those players choose a core character motivation from the following table.

Once a player has chosen their core motivation, use the relevant section below to aid that player in developing their character's history and goals.

Knowledge—The Amber Shard

A player seeking knowledge begins the campaign with the amber shard, a small chunk of amber resin mounted on a chain-link cord. The shard is inset with complex, three-dimensional arcane runes. When viewed under the detect magic spell, it exudes a strong aura of abjuration magic.

Unbeknownst to the player, the amber shard was formerly a part of a dark vestige's amber sarcophagus in the Amber Temple in Barovia. When it senses the presence of Death House, it glows with amber light and tugs its cord in the direction of the house.

The player who possesses the amber shard should have strong, vivid reasons to want to unlock its secrets and the magic that it possesses.

Developments. In Act I, Arc A: Escape From Death House, the player recognizes Elisabeth Durst's amber shard as similar in appearance to their own. In Act II, Arc J: The Strazni Siblings, the player recognizes Izek Strazni's amber shard in a similar way. In Act V, Arc U, Elder Ormir of Yaedrag can recognize the amber shard as a shard of evil taken from the Amber Temple, and the player can recognize the amber shards kept by the shoosuva and bodaks as resembling their own.

If the player character is reduced to 0 hit points in Barovia while in possession of their amber shard, it behaves as described in Appendix B: The Amber Shards, offering the player an opportunity to forge a pact with a vestige of the Amber Temple that fits the player character's personality, flaws, and temptations. Upon entering the Amber Temple, the player's amber shard glows and tugs in the same way that it did upon sensing Death House, guiding the player toward a suitable amber sarcophagus.

Redemption—The Angel's Feather

A player seeking redemption begins the campaign with the angel's feather, a large, snow-white feather that feels impossibly light for its size. When viewed beneath the light of the morning sun, the feather's barbs glimmer like gold.

Unbeknownst to the player, the angel's feather formerly belonged to Lumiel, a deva that serves the god Lathander, who is known to his followers as the Morninglord. Lumiel is the true name of the Abbot, who dwells in the Abbey of Saint Markovia in Barovia. When it senses the presence of Death House, the feather is swept away by an unseen wind, its barbs glimmering with golden light, before eventually landing on the house's threshold.

The player who possesses the angel's feather should have strong, vivid reasons to believe that the feather will one day lead them to penance for the sins that they have committed.

Developments. When the players first arrive at the Abbey in Act IV, Arc N: The Holy Symbol of Ravenkind or Act IV, Arc Q: A Bride for Strahd, the angel's feather glimmers and is swept away in the same way that it did upon sensing Death House, guiding the player toward the Abbot. The Abbot recognizes the feather as his own, but dismisses its importance.

Family—The Wanderer's Scarf

A player seeking family begins the campaign with the wanderer's scarf, a multicolored scarf woven with complex patterns. The fabric is soft and warm, and is long enough to be worn around the neck or over one's head. When bright sunlight, moonlight, or starlight is allowed to pass through it, the patterns seem to shimmer and twist in eerie and beautiful ways.

Unbeknownst to the player, the wanderer's scarf once belonged to a Vistana who left their caravan and settled down to marry the one they loved. The scarf was a parting gift from the caravan's leader—a reminder of the joys that the Vistana had experienced while traveling. When it senses the presence of Death House, the scarf is carried away by a warm, playful breeze, its patterns shifting and turning in the air, before eventually landing on the house's threshold.

The player who possesses the wanderer's scarf should have received the scarf from a beloved family member, as well as strong, vivid reasons to long for a sense of family and belonging.

Developments. When the players first encounter Ezmerelda in Act IV, Arc M: Strahd's Enemy, Act IV, Arc N: The Holy Symbol of Ravenkind, Act IV, Arc O: The Beacon of Argynvostholt, or upon visiting Van Richten's Tower during Act II, Arc G: The Tome of Strahd, the wanderer's scarf shimmers and is carried away in the same way that it did upon sensing Death House, landing at Ezmerelda's feet. Ezmerelda recognizes the scarf and, upon confirming how the player came to inherit it, greets the player as family, calling them "cousin."

Inheritance—The Dragon's Scale

A player seeking inheritance begins the campaign with the dragon's scale, a large silver scale that always feels cold to the touch. A Good-aligned creature that touches the scale feels a fleeting sense of safety, protection, and comfort.

Wealth—The Electrum Coin

A player seeking wealth begins the campaign with an old, chipped electrum coin stamped with the profiled visage of a proud, yet cold-looking nobleman. When seen in a certain light, the nobleman's expression seems to change from a firm, aristocratic sneer to a feral, monstrous snarl.

Unbeknownst to the player, the visage stamped upon the electrum coin is the face of Strahd von Zarovich, the undead ruler of Barovia. The coin was minted long ago, but spirited away from Strahd's treasuries by a thief shortly before Barovia was lost to the mists. When it senses the presence of Death House, the coin lands on its edge, then begins rolling across the ground toward the house until it reaches the base of its steps.

The player who possesses the electrum coin should have strong, vivid reasons to believe that the coin first came from a wondrous vault of treasure—a conqueror's hoard—and that, one day, it will lead them to claim riches beyond imagining.

Developments. Any Barovian immediately recognizes the visage stamped upon the coin as Strahd's. If the player shares the coin's story with one of the Vistani of Madam Eva's camp in Act I, Arc C: Into the Valley or Kasimir Velikov in Act V, Arc U: The Amber Temple, they can learn of Strahd's vast hoard of treasure, collected in his days as a conqueror and hidden away somewhere in Castle Ravenloft.

When the player first approaches Strahd's treasury, the coin lands on its edge and rolls as far as it can toward the treasury's entrance, in the same way that it did upon sensing Death House.

Healing—The Wolf's Tooth

A player seeking healing begins the campaign with a wolf's tooth coated with clear resin and mounted on a leather cord. The wolf's tooth seems to lengthen and sharpen on nights of the full moon, and seems to calm its wearer's dreams when worn at night.

Unbeknownst to the player, the tooth once belonged to a wolfir—a werewolf that served the fey goddess known as the Huntress before her gift of lycanthropy was twisted into a curse. The Huntress's holy place, the Forest Fane, dwells amidst the woodlands of Barovia, silently waiting to be restored. When it senses the presence of Death House, the tooth lengthens, glowing with silver moonlight, and tugs its cord in the direction of the house.

The player who possesses the wolf's tooth should have strong, vivid reasons to believe that the tooth is the key to curing a particular wound, malady, or curse that ails them.

Developments. If the player shows the wolf's tooth to Kavan in Act III, Arc K: The Missing Gem or to Elder Ormir in Act V, Arc W: The Ladies of the Fanes, the tooth is recognized as an artifact and symbol of the Huntress. When the player first enters the circle of stones at the Forest Fane in Act V, Arc W: The Ladies of the Fanes, the tooth lengthens and glows with moonlight as it did upon sensing Death House.

Duty—The Raven's Feather

A player seeking duty begins the campaign with a raven's feather, a small, black feather with soft, downy barbs. When held aloft before a storm, the feather seems to gently tremble, exuding the scent of cold rain and damp earth.

Unbeknownst to the player, the feather once belonged to the roc of Mount Ghakis, a servant of the fey goddess known as the Seeker, whose Mountain Fane rests in the shadow of Mount Ghakis in Barovia. The roc once enjoyed disguising itself as a common raven, and conveyed the Seeker's gift of wereraven lycanthropy to her followers long ago. When it senses the presence of Death House, the feather is swept away by an unseen and violent wind, the scent of rain and ozone filling the air, before eventually landing on the house's threshold.

The player who possesses the raven's feather should have strong, vivid reasons to believe that the feather will always guide them to those who need aid, protection, and comfort.

Developments. If the player shows the raven's feather to Madam Eva in Act I, Arc C: Into the Valley, she inspects it reverently and returns it to the player, claiming mysteriously that she once knew the bird that shed it. If the player shows the feather to Urwin Martikov, Danika Martikov, Muriel Vinshaw, or any other member of the Keepers of the Feather, that member grows warmer and friendlier toward that player.

When the player first enters the circle of standing stones at the Mountain Fane in Act V, Arc W: The Ladies of the Fanes, the feather trembles and the air around it grows briefly thick with the scent of rain and ozone as it did upon sensing Death House. If the player shows the feather to the Roc of Mount Ghakis after consecrating the Mountain Fane in the same arc, the roc places the tip of its beak against the player's forehead as a sign of gratitude and approval before departing.

Power—The Crumpled Page

A player seeking power begins the campaign with the crumpled page, an old, yellowed page that was torn from its book long ago. The page is written in strange and cryptic arcane runes; those few runes that can be decoded speak of a path that leads immortality and untold power.

Ambition—The Tattered Banner

A player seeking ambition begins the campaign with the tattered banner, an old, ragged red banner bearing the heraldry of a raven in front of a shield. The raven's wings are spread wide, and the shield has the image of a castle's keep engraved into its top. Sometimes, when a Lawful-aligned creature holds the banner, a crimson light seems to glimmer from the peak of the castle's keep, and the sound of soldiers marching can be distantly heard.

Unbeknownst to the player, the banner was once flown by the warlord Strahd von Zarovich, in the days before he became a vampire and was trapped within the mists of Barovia. When it senses the presence of Death House, the distant sound of war-drums fills its holder's ears and the banner blows in an unseen wind, pulling toward the house's direction.

The player who possesses the tattered banner should have strong, vivid reasons to believe that the banner was once the sigil of a mighty conqueror—and that, by following in that conqueror's steps, they will one day achieve greatness, glory, and the right to rule.

Developments. When the player first experiences the haunted battlefield north of Berez in Act V, Arc T: Baba Lysaga's Revenge or Act V, Arc W: The Ladies of the Fanes, the banner flaps in the wind, which echoes with the sound of war-drums.

If the player shows the banner to the revenant at Tser Falls in Act I, Arc C: Into the Valley, Sir Godfrey Gwilym or Sir Vladimir Horngaard in Act IV, Arc O: The Beacon of Argynvostholt, or Kasimir Velikov in either Act V, Arc U: The Amber Temple or Act IV, Arc M: Strahd's Enemy, its appearance is met with revulsion and bitter disgust.

If the player shows the banner to Strahd, he regards it with fond thoughtfulness, but declines to elaborate on its significance. If the player shows the banner to Dr. Rudolph van Richten in Arc M: Strahd's Enemy or any Vistani, they immediately recognize it as the heraldry of Castle Ravenloft.

Faith—The Sunrise Medallion

A player seeking faith begins the campaign with the sunrise medallion, a bronze disc engraved with the image of a rising sun. The disc glitters like gold when exposed to the light of the sunrise, and a Good-aligned creature that touches it feels a fleeting sense of reverence, righteousness, and peace.

Unbeknownst to the player, the medallion once belonged to Sergei von Zarovich, the brother of Strahd von Zarovich and an acolyte of the Church of the Morninglord who was once expected to become its Most High Priest. When it senses the presence of Death House, the medallion shines with a warm, golden glow, the rays of sunlight emanating from the engraved sun pointing in the direction of the house.

The player who possesses the sunrise medallion should have strong, vivid reasons to believe that it will strengthen or guide them in faith, and that certain signs of the divine will lead them to those in need of salvation and deliverance.

Developments. When the player first approaches St. Andral's Church in Act II, Arc E: St. Andral's Feast, the sunrise medallion glows and shines in the direction of the church's doors. If the player shows the sunrise medallion to Father Donavich or Lucian, they recognize it as a symbol of the Church of the Morninglord and grow warmer and friendlier toward that player.

Harmony—The Stone Crest

A player seeking harmony begins the campaign with the stone crest, a flat, round stone engraved with the images of an eye, a spider, and a wolf's head. On the nights of the new moon, the eye appears to weep, the spider appears to curl in upon itself, and the wolf's head appears to howl.

Unbeknownst to the player, the crest once belonged to a spiritual leader among the First Folk, the people who first settled the land of Barovia long ago, and who have now divided into the Forest Folk (who are loyal to Strahd) and the Mountain Folk (who are not). The engravings upon it depict the symbols of the Seeker, the Weaver, and the Huntress—the three fey goddesses that the First Folk once called the Rozana, or Ladies Three. When it senses the presence of Death House, the crest emits a low hum and releases a scent of pine needles and earthy soil, which both grow stronger as the player approaches the house.

The player who possesses the stone crest should have strong, vivid reasons to believe that the symbols upon it represent a primal or divine power of harmony and nature, and that the crest itself can sense places of corruption and darkness.

Developments. When the player first approaches the exterior of Yaedrag in Act V, Arc W: The Ladies of the Fanes, the stone crest hums and releases a scent of pine needles and earth soil as it did upon sensing Death House, both of which grow stronger as the player approaches the Shrine of the Rozana in Yaedrag.

If the player shows the stone crest to Kavan in Act III, Arc K: The Missing Gem or to Elder Ormir in Act V, Arc W: The Ladies of the Fanes, the crest is recognized as an artifact and symbol of the Ladies of the Fanes.

Justice—The Broken Blade

A player seeking justice begins the campaign with the broken blade, the shattered tip of an elven longsword. The blade is engraved with the sigil of a lion rampant, which seems to roar when the light of dusk touches it.

A History of Barovia

Campaign Structure

Campaign Timeline

In this act, the players are lured into the haunted Death House, which mystically transports them into the land of Barovia. As the players begin to gain their bearings, they travel to the village of Barovia. There, they meet Ismark and Ireena, two potential long-term companions, and learn about the mysterious and dangerous Strahd von Zarovich, a vampire that has recently awoken to plague the Barovian valley. The players are asked to escort Ireena to the nearby town of Vallaki for safety; if the players agree, Ireena also asks them to assist in the burial of her late father, Burgomaster Kolyan Indirovich.

Upon receiving a warning and invitation sent in a dream from the Vistani seer Madam Eva, the players depart the village of Barovia for a Vistani encampment at nearby Tser Pool. Following a brief encounter with Strahd himself, the players receive a mystical Tarokka reading from Madam Eva, who foretells the location of three mystical artifacts—and a companion—who will help them defeat Strahd.

As the players travel to Madam Eva's camp, and then to the nearby town of Vallaki, they encounter a number of characters with ties to possible future adventures, as well as some adversarial encounters that will test their tactics, coordination, and combat skill.

Upon their arrival in Vallaki, the players can find shelter at the Blue Water Inn, and—if she is with them—help Ireena seek shelter at St. Andral’s Church. The act ends when the players take their first long rest in Vallaki.

A1a. The Arrival

The players begin in the town of Daggerford. If you have chosen to use the Barovian Relics hook, one or more players begin the campaign apart and unknown to one another, with each player in posession of a particular unique relic. (At your discretion, the players might begin in a different location or in a different world entirely, so long as they remain in a large, but non-urban settlement.)

As the players approach Death House, late afternoon begins to turn to dusk, and a light mist begins to rise within the streets. Eventually, they arrive at Death House itself: a quiet townhouse nestled along a quiet, empty street.

A1c. The Game Begins

The Main Hall (p. 212) now contains a grandfather clock, placed in the circular space at the base of the stairs.

Shortly after all of the characters enter the Main Hall (p. 212), the front door slams shut, extinguishing all lights in the house. The sound of the town outside completely vanishes, leaving the house eerily silent. (A player who opens any outside-facing door or curtain in Death House finds that the exterior of the house has been completely bricked up, trapping the players inside. A player who takes the time to break through the bricks finds only more bricks on the other side.)

Bloody letters then begin appearing on the southern wall, just above the marble staircase, sharing the following information:

• The monster will be pleased to finally be fed.
• The monster is sleeping right now in his room below the house, but will awaken and come for his dinner at midnight.
• If the players find the monster’s room and leave him a gift before he wakes up, he might decide to let them go.

The grandfather clock then strikes six o’clock. [Note]

Time in Death House

To track time in Death House, assume that each floor of the house takes 15 minutes to explore, and that the dungeon level takes 30 minutes to explore. Each short rest, of course, takes 1 hour to complete.

The grandfather clock in the Main Hall sounds on the hour, every hour, and can be heard throughout the house and dungeon. When the clock strikes midnight, the flesh mound in the Ritual Chamber awakens and makes a beeline for the players, exiting through the Hidden Trapdoor into the Den of Wolves if necessary to reach them. At least one minute should pass between the time the mound wakes up and the time that it first reaches the players, nullifying its heavy sleeper feature and allowing it to use its multiattack actions.

Resting in Death House

Due to their midnight deadline, it is ill-advised for the players to take a long rest in Death House. However, the players might still need to take a short rest.

Each time the characters take a short rest in the house, they experience one or more of the following hauntings:

• A player hears rats scrabbling up and down the spaces between the walls. A thick, choking stench of rot seeps into the room.
• A player hears the sound of a woman’s humming emanating from the opposite side of a closed door. If the door is cracked open, a cold blue eye stares back before vanishing.
• A player hears footsteps descending from the attic and stopping outside of their door before moving away to the library. Soon after, a grinding noise can be heard coming from the library (the sound of the secret door).
• A player hears maniacal laughter echoing from far below the house.
• A player hears a pleading female voice in their right ear that swears that “it isn’t his.” A cold female voice in the player’s left ear scoffs, and says, “You would say that, you little harlot.” [Note]

A1d. The First Floor

A1e. The Second Floor

A1f. The Third Floor

As the players ascend the spiral stairs to the third floor, remind them that they can see down the center of the staircase all the way to the bottom floor.

Dusty shelves line the walls of this room. A few of the shelves have folded sheets, blankets, and old bars of soap on them. A cobweb-covered broom leans against the far wall.

When a player first approaches within 5 feet of the broom of animated attack, it attacks with surprise as soon as they avert their eyes or turn away, thwacking them once upside the head. It then immediately returns to its initial position—now cobweb-free. On its future turns, the broom uses its multiattack to continue to attack any player not looking at it who remains within 5 feet, foregoing opportunity attacks against players that move away. [Note]

NPC Profile: Rose and Thorn

Roleplaying Information

Resonance. Rose should make the players feel sympathetic to her (due to her insecurity about her ability to keep Thorn safe and due to her desire to rest peacefully), endeared to her (due to her best efforts to comfort Thorn in a disturbing situation), and grateful to her (due to her genuine interest in helping the players succeed in their efforts). Thorn should make the players feel sympathetic to him (due to his discomfort in strange situations and his fear of the players and the dangers below the house).

Emotions. Rose’s most frequent emotions are apprehension, curiosity, defiance, shyness, and boldness. Thorn’s most frequent emotions are discomfort, anxiety, and fear.

Motivations. Rose’s actions are most often motivated by her desire to comfort and protect Thorn or her desire to allow herself and Thorn’s spirits to finally rest. Thorn’s actions are mostly motivated by his desire to stay close to his sister or his desire to find opportunities for small, childlike joy where he can.

Inspirations. Consider taking inspiration for Rose from Eleven (Stranger Things), Matilda (Matilda), and Lucy Pevensie (The Chronicles of Narnia). Consider taking inspiration for Thorn from Neville Longbottom (Harry Potter) and Piglet (Winnie the Pooh).

Character Information

Persona. To strangers, Rose appears as a young girl doing her best to keep her little brother comforted and safe, while Thorn appears as a young boy who is easily frightened, yet yearns for the simple joys of childhood. To those they trust, Rose appears as a young girl struggling to navigate a confusing and traumatizing world while Thorn appears as a young boy who is deeply devoted to his older sister, yet anxious that, in her efforts to protect him, she may fail to protect herself.

Morale. In a fight, Rose would attempt to persuade her opponent to lay down their arms, but would immediately attempt to flee with Thorn if doing so were impossible.

Relationships. Rose and Thorn are the half-siblings of Walter Durst and the children of Elisabeth and Gustav Durst.

Secret Stairs

This room is largely as described in Secret Stairs (p. 217). However, because the players begin the campaign already at 2nd level, they do not gain an additional level upon finding it.

When the players enter this room, read:

As the players descend the stairs, read:

B2h. The Basem*nt

You peer past the leaning stone slab to see an empty earthen crypt.

Swollen, bloody cysts cover the walls of this crypt like tumors. From time to time, they pulsate and burst, streams of pus oozing down to collect on the floor. In the distance, you can hear an infant's quiet whimpers.

This side corridor branches again to the left and right. Large standing stone slabs seal the entrance to the tunnels on either side, blocking the way forward. The slab to the left is etched with the name "Gustav Durst"; the slab to the right is etched with the name "Elisabeth Durst." The tunnel here is unnaturally quiet, and a thin mist clings to the floor.

The crypt beyond the slab contains a stone coffin lying atop a dusty stone bier. Silence hangs heavy over the lonely chamber.

A misty miasma hangs over the interior of this crypt, and the floor is littered with the bodies of hundreds of dead insects. The air is thick with a musty, acrid smell. Within the chamber, a stone-carved coffin rests quietly atop a stone bier. Beyond it, the wall of packed soil and clay is littered with dozens of tiny holes that bore deep into the earth beyond.

This side-corridor branches again to the left and right. Large standing stone slabs seal the entrance to the tunnels on either side, blocking the way forward. The slab to the left is etched with the name "Rosavalda Durst"; the slab to the right is etched with the name "Thornboldt Durst." Each slab exudes the silence of a forgotten grave.

This small chamber contains a stone coffin resting on a stone bier. The air in this crypt hangs heavy with sorrow.

Cult Initiates’ Quarters

This room is largely as described in Cult Initiates’ Quarters (p. 218).

As the characters move to descend to the Well and Cultist Quarters (p. 218), a sudden splashing sound can be heard—which then quickly subsides.

Well and Cultist Quarters

This room is largely as described in Well and Cultist Quarters (p. 218). When the players enter this room, read:

The well comprises a 4-foot-diameter well shaft with a 3-foot-high stone lip, and descends 30 feet to a water-filled cistern. A wooden bucket hangs from a rope-and-pulley mechanism bolted to the cross beams above the well. The interior of the shaft is covered with an ash-black species of fungi.

If the players toss an object down the well and then turn away, they hear loud splashing and tearing sounds coming from below. When they turn back, the object has been torn to pieces, with large parts missing. (This is the well where the flesh mound was kept before it grew too large and was relocated to the Ritual Chamber.)

One of the foot lockers contains a book bound in grimy black leather. The journal, which one of the cultists kept as a log of the cult’s victims, contains a list of names and physical descriptions associated with each name. Each name is also associated with gruesome details describing the victim’s sacrifice, such as “struggled profusely” or “no sedative given.”

Hidden Spiked Pit

This room is largely as described in **Hidden Spiked Pit **(p. 218).

Dining Hall

This room is largely as described in **Dining Hall **(p. 218). When the players enter this room, read: [Note]

Larder

This area is largely as described in **Larder **(p. 218).

The **grick **in this alcove—the warped remains of Gustav Durst’s flayed corpse—is coiled on the ceiling, and drops onto its victim when they enter. A DC 17 Wisdom (Perception) check allows a player to determine its presence before entering.

If the players disturb the grick, read:

Ghoulish Encounter

This room is largely as described in Ghoulish Encounter (p. 218). When the players first approach this area, read:

If the players continue down the corridor, read:

If one or more characters moves within 5 feet of the midpoint of the four-way tunnel intersection, four ghouls begin to unearth themselves from the ground. Three of the four ghouls begin in spaces marked X on the map, except for one, which emerges from the midpoint of the intersection. The ghouls must spend their action on their first turn digging themselves out of the ground. (Treat a half-buried ghoul as prone.) [Note]

As the ghouls attack, they mindlessly repeat any or all of the following phrases:

• “Beautiful. We’re so beautiful.”
• “Nothing can hurt us.”
• “We are perfect. We are immortal.”
• “Help us live forever.”

Stairs Down

This room is largely as described in Stairs Down (p. 218). When the players approach this area, read:

Darklord’s Shrine

This room is largely as described in **Darklord’s Shrine **(p. 218). When the players enter this room, read:

A player that approaches the orb can hear many voices whispering the following phrases:

• “His gaze burns upon us.”
• “The Darklord’s eyes are always watching.”

Additionally, that player’s shadow begins to writhe and twist, its edges growing tattered and blurred as it lashes erratically across the floor.

A player who touches the orb feels as though a “dark, ancient evil” has suddenly turned its eye upon them. Furthermore, if the orb is disturbed, the ashen **shadows **upon the walls begin to stir. Each round, up to two of the shadows “awaken,” swooping across the walls. As they awaken, they murmur and moan the following phrases:

• “Begone from this place!”
• “Look not upon us.”
• “Return the Darklord’s offering!”

Once all shadows have awoken, they attack, with each shadow preferring to target a different player. If the orb is returned to its place on the statue, the shadows return to their original positions and become dormant once more. [Note]

If the players approach the door leading to Cult Leaders’ Den, read:

If the players have not already seen this door from the opposite side, add:

Any creature that touches the door becomes adhered to it, whereupon the mimic attacks. The mimic also attacks if its takes any damage.

When the mimic attacks, the victim's hand is sucked inside of it. The door then deforms, sprouting dozens of mouths and eyes, with the nearest mouth attempting to bite down on the now-stuck victim.

If the mimic is attacked at range by a wary or alerted PC, it flees, vanishing around the corner and reappearing as a door, chest, or longsword elsewhere in the dungeon.

Hidden Trapdoor

This room is largely as described in Hidden Trapdoor (p. 219). When the players enter this area, read:

Cult Leaders’ Den

This room is largely as described in Cult Leaders’ Den (p. 219). When the players enter this room, read:

See Darklord’s Shrine for more information on running the mimic here.

Cult Leaders’ Quarters

This room is largely as described in Cult Leaders’ Quarters (p. 219). When the players enter this room, read:

The wardrobe contains several old robes, a pair of iron candlesticks, and an open crate containing thirty torches and a leather sack with fifteen candles inside it. A rotting aroma also emanates from a pair of rotted organs—a half-eaten liver and a gnawed intestine—lying hidden beneath the hems of the robes.

Reliquary

This room is largely as described in Reliquary (p. 219). When the players enter this room, read:

Prison

This room is largely as described in Prison (p. 219). When the players enter this room, read:

Portcullis

This area is largely as described in Portcullis (p. 219). When the players approach this area, read:

The wooden wheel that opens the portcullis is located on the eastern side of the gate (i.e., the side facing the Reliquary), rather than the western side (i.e., the side facing the Ritual Chamber). However, the chain-link mechanism has broken, preventing the players from proceeding without repairing it (e.g., by using Rose’s mending cantrip) or lifting the portcullis by hand. (If the players lift the portcullis by hand and then release it, its weight causes it to shut once more unless propped open.) [Note]

B2i. The Ritual Chamber

This room is largely as described in Prison (p. 219). When the players enter this room, read:

The bundle atop the altar is the size and shape of an infant wrapped in swaddling clothes. If unwrapped, the players instead find it to hold a rusted, serrated dagger stained red with ancient blood.

The dark shadow in the cave is a flesh mound containing Walter’s spirit. It is a swollen, bloated mound of bones, flesh, and gore that seems to breathe as its mass rises and falls. A player that observes it concludes that it appears to be sleeping.

When a player first unwraps the dagger atop the altar, read the flavor text listed under “One Must Die!” (p. 220). The cultists’ chanting causes the flesh mound to begin stirring, awakening it fully after three rounds.

The flesh mound also awakens if attacked. In either case, when the flesh mound awakens, its subsequent screeching wail causes the earth to tremble, sending the Portcullis crashing to the ground. [Note]

If the players use the dagger to kill a humanoid or beast with an Intelligence of 3 or higher upon the altar before the flesh mound awakens, the flesh mound returns to sleep and the cultists’ apparitions disappear. Far overhead, the players can hear the sound of the house’s front door opening, followed by the sounds of the distant thunderstorm. All monsters and apparitions vanish from the house, and the players can now leave freely.

Flesh Mound, 1st Form

Large undead, chaotic evil

• Armor Class 15 (natural armor)
• Hit Points 51 (6d10 + 18)
• Speed 20 ft.

STR	DEX	CON	INT	WIS	CHA
16 (+3)	8 (-1)	16 (+3)	3 (-4)	10 (+0)	5 (-3)

• Condition Immunities blinded, deafened, exhaustion
• Senses blindsight 60 ft., passive Perception 10
• Languages —
• Challenge 3 (700 XP), or 2 (450 XP) when its heavy sleeper feature is active.

Heavy Sleeper. If either of the mound’s forms has been unconscious within the past minute, it can’t use its multiattack.

Instinctual Defense. When the mound drops to 0 hit points, it expels each creature currently engulfed by it. (Those creatures appear prone in an empty space within 5 feet of the mound.) The mound’s statistics are then instantly replaced by the statistics of its second form. Its initiative count doesn’t change.

Actions

Multiattack. The flesh mound makes two slam attacks. If it has a Medium or smaller creature grappled, the flesh mound then uses its Engulf on it.

Slam. Melee Weapon Attack: +5 to hit, reach 5 ft., one target. Hit: 8 (2d4 + 3) bludgeoning damage. If the attack hits a Medium or smaller target, the target is grappled (escape DC 13).

Engulf. The flesh mound engulfs a Medium or smaller creature grappled by it. The engulfed target is blinded, restrained, and unable to breathe, and it must succeed on a DC 13 Constitution saving throw at the start of each of the mound’s turns or take 8 (2d4 + 3) bludgeoning damage. If the mound moves, the engulfed target moves with it. The mound can only have one creature engulfed at a time.

Flesh Mound, 2nd Form

Large undead, chaotic evil

• Armor Class 15 (natural armor)
• Hit Points 51 (6d10 + 18)
• Speed 20 ft.

STR	DEX	CON	INT	WIS	CHA
16 (+3)	8 (-1)	16 (+3)	3 (-4)	10 (+0)	5 (-3)

• Condition Immunities blinded, deafened, exhaustion
• Senses blindsight 60 ft., passive Perception 10
• Languages —
• Challenge 3 (700 XP), or 2 (450 XP) when its heavy sleeper feature is active.

Heavy Sleeper. If either of the mound’s forms has been unconscious within the past minute, it can’t use its multiattack.

Innocent Heart. The front of the mound contains a large, misshapen rib cage. Within the rib cage hovers the infant corpse of Walter Durst. Walter's corpse has AC 17, 20 hit points, and the same ability scores as the flesh mound. If Walter's corpse is reduced to 0 hit points, the flesh mound instantly dies.

Actions

Multiattack. The flesh mound makes two tentacle attacks and uses its gore spray.

Tentacle. Melee Weapon Attack: +5 to hit, reach 10 ft., one target. Hit: 8 (1d10 + 3) bludgeoning damage. If the target is a creature, it must succeed on a DC 13 Strength saving throw or be knocked prone.

Gore Spray. The mound spews blood and gore in a 15-foot cone. Each creature in that area must make a DC 13 Dexterity saving throw. On a failure, a creature takes 7 (2d6) necrotic damage and is blinded until the end of the mound's next turn. On a success, a creature takes half as much damage and isn't blinded.

A1. Escape From Death House

When the flesh mound dies, the cultists’ apparitions vanish, leaving the basem*nt eerily silent. Far overhead, the players can hear the sound of the house’s front door opening, followed by the sounds of the distant thunderstorm. [Note]

Complications

Each time the players pass through a certain area, as given by the list below, Elisabeth’s spirit appears again to summon a new complication, and a new round of the skill challenge begins.

If the players have already accumulated 5 successes when a new round begins, the players automatically succeed during that round.

Portcullis. A sudden rockslide obstructs the way ahead. _Penalty: _The Active Player takes 2d6 bludgeoning damage.

Spiked Pit. The floor grows slick with blood and slopes downward toward the pit, which grows large, sharp teeth. Penalty: The Active Player takes 2d6 slashing damage.

Ghoulish Encounter. The gnawed bones rise into the air and attempt to skewer the players’ loose clothes—and flesh—to the walls. Penalty: The Active Player takes 2d6 piercing damage.

Hidden Trapdoor. Grasping hands form from the clay walls and attempt to strangle the players. (Whether the players succeed or fail this complication, they automatically gain an additional 3 successes at the end of the round.) Penalty: The Active Player takes 2d6 bludgeoning damage.

Family Crypts. A wave of insects fills the hall, threatening to drown the players. Penalty: The Active Player takes 2d4 poison damage and is poisoned for the next two rounds.

Secret Stairs. A tide of blood sweeps down the staircase. Penalty: The Active Player takes 2d6 bludgeoning damage.

Storage Room. A cloud of noxious gas billows from the stove, filling and obscuring the room. Penalty: The Active Player takes 2d4 poison damage and is poisoned for the next two rounds.

Attic Windows. Grasping, black, blood-stained roots begin to grow from the walls and floor, attempting to entangle the players. (Whether the players succeed or fail this complication, they automatically gain two additional successes at the end of the round.) Penalty: The Active Player takes 2d6 bludgeoning damage.

Master Suite. Elisabeth’s spirit lets out a terrible scream, which threatens to daze any creature that hears it. (Whether the players succeed or fail this complication, they automatically gain an additional success if they proceed onto the outside balcony.) Penalty: 2d4 psychic damage and the Active Player is stunned for the next two rounds.

Nursemaid’s Suite. Grasping, black, blood-stained roots begin to grow from the walls and floor, attempting to entangle the players. (Whether the players succeed or fail this complication, they automatically gain an additional success if they proceed onto the outside balcony.) Penalty: The Active Player takes 2d6 bludgeoning damage.

Balcony. The balcony is plunged into darkness, the air filled with the maddened whispers of the cultists’ spirits. Penalty: The Active Player takes 2d6 psychic damage.

Main Hall. The wolves from the den obstruct the way forward. Penalty: The Active Player takes 2d6 piercing damage.

B2k. Outside Death House

When the players exit Death House, the storm overhead has slowed to a mere drizzle, and the mists around the house have disappeared. Moreover, rather than night, the players emerge into a gray-lit, sunless morning.

Most surprisingly, however, the players now find themselves in a dark forest clearing at the beginning of the Old Svalich Road (p. 33), rather than on the Triboar Trail. The road travels west. To the east lie dark, endless woods filled with the Mists of Ravenloft (p. 23).

If the players killed the flesh mound, the house and its adjoining buildings collapse—and then implode—leaving nothing more behind than a dark scorch mark where their foundations once stood.

If the players appeased the flesh mound with a sacrifice, the house and its adjoining buildings vanish from sight the first time that no players are looking at them.

Arc B: Welcome to Barovia

In this arc, the players travel to the gloomy village of Barovia, which has been ravaged by death and despair in the wake of Strahd’s revival. As they work to find their way to Tser Pool, they meet Ismark, the eldest child of the village’s recently deceased burgomaster.

In exchange for food, shelter, information, and assistance against Strahd, Ismark asks the players to escort his sister Ireena—a target of Strahd’s interest—to St. Andral’s Church in the walled town of Vallaki to the west, where he believes she will be safe. If the players agree to help, Ireena insists on a burial for her father before departing, which can be performed at dawn with the aid of the village’s priest, Father Donavich.

While awaiting the burial, the players might also purchase goods from Bildrath’s Mercantile or overhear a conversation between Ismark and “Mad Mary” regarding the fate of her daughter, Gertruda.

During their first night in Barovia, the players also receive a shared dream from the Vistani seer Madam Eva. Madam Eva warns the players that they are in grave danger, and invites them to journey to her tent at Tser Pool Encampment to learn their fates. [[Note]]

B4a. The Raven’s Guidance

When the players first arrive in the village of Barovia, read the descriptive text in Approaching the Village (p. 41). (Remove the part of the last sentence that begins with "except for mournful sobbing...")

Soon after entering the village, the players encounter a raven with blue-tipped wings perched atop one of the houses flanking the street. This raven is secretly Muriel, a wereraven and member of the Keepers of the Feather. Muriel attempts to lead the players through the streets of Barovia to the Blood of the Vine tavern, where she perches atop its sign. [[Note]]

The players do not encounter Morgantha, the night hag peddler, while exploring the village of Barovia. (They will meet her later on the Old Svalich Road instead.) [[Note]]

B4b. The Blood on the Vine Tavern

This area is largely as described in Blood of the Vine Tavern (p. 43). However, insert the following after the first sentence of this area’s description:

The statue bears a weather-worn plaque at its base. It reads: “ISMARK THE GREAT. Burgomaster of Barovia. Bane of Vampires. 618—662 B.C.” (“B.C.” stands for “Barovian Calendar.”) [[Note]]

Entering the Tavern

Instead of Alenka, Mirabel, and Sorvia—the three Vistani found here in the original module—Arik is the sole owner and proprietor of the tavern. Alenka, Mirabel, and Sorvia are merely patrons, visiting from Tser Pool to drink and gather news. [[Note]]

When the players enter, these Vistani eye them with brief interest, but soon return to their drinks, departing the tavern soon after. (Alenka and Mirabel return to Tser Pool. Sorvia, a spy for Strahd, travels to Castle Ravenloft to report that new outsiders have entered Barovia.)

As the PCs speak with Arik, Ismark approaches, offers to pay for their drinks, and invites them to his table. Over drinks, in addition to the information given in Roleplaying Ismark (p.43) and Barovian Lore (p. 26), and the village’s recent history described above, Ismark can share the following information:

B4c. The Burgomaster’s Mansion

This area is largely as described in Burgomaster’s Mansion (p. 44). However, Kolyan’s corpse still bears the wounds that killed him.

Additionally, Ireena wears a thick red scarf to cover the marks of Strahd’s teeth on her neck. (It was knitted for her by her late mother, Indira, who died of illness ten years ago.) [[Note]]

NPC Profile: Ireena Kolyana

Roleplaying Information

Resonance. Ireena should make the players feel flattered (due to her genuine interest in their ideals, bonds, goals, and/or interests), sympathetic (due to her guilt over the pain her situation has brought Strahd and her fear that, somehow, she was responsible for Strahd's attack on the town), endeared to her (due to her determination to keep moving forward and help all she can, even despite her own situation), and grateful (due to her genuine efforts to help the players succeed).

Emotions. Ireena's most frequent emotions are curiosity, thoughtfulness, melancholy, guilt, stubbornness, joy, determination, and fear.

Motivations. Ireena's actions are most often motivated by her loyalty to her fellow Barovians, her dedication to her parents' memory, her love for Ismark, her fascination with stories, and her dream of exploring distant lands.

Inspirations. Consider taking inspiration for Ireena from Belle (Beauty and the Beast), Elizabeth Swann (Pirates of the Caribbean), Eowyn (Lord of the Rings), Hermione Granger (Harry Potter) and Katniss Everdeen (The Hunger Games).

Character Information

Persona. To strangers, Ireena appears as a compassion, curious, yet stubborn young noblewoman. To those she trusts, Ireena appears as a melancholy, guilty, yet determined young woman who keeps her hope alive with distant dreams of freedom and adventure. Deep down, Ireena feels shattered from the loss of her father, home, and brother, and struggles with thoughts of resignation to Strahd's predation.

Morale. In a fight, Ireena will always turn to words before a sword. If necessary to defend, though, she'll draw her rapier—reluctantly, if protecting herself, and defiantly, if protecting another.

Relationships. Ireena is the (unknowing) stepsister of Ismark Kolyanovich, the (unknowing) sister of Izek Strazni, and the (unknowing) reincarnation of Tatyana Federovna.

Mad Mary's Plea

Shortly before dinner, Mad Mary knocks on the mansion’s door and pleads for an audience with Ismark.

Mary tells Ismark that her daughter, Gertruda, vanished from their home the previous night, shortly after an argument the two had had regarding Gertruda’s “foolhardy” ideas. [[Note]]

(If pressed by the players, Mary shares that Gertruda planned to visit Castle Ravenloft directly to parlay with its master and seek reparations, "doubtlessly addled by those books she's read and her late father's nonsensical stories.")

If the players do not intrude, Ismark promises Mary that he will look out for Gertruda should she return, and that he will deploy a search party to search for her in the meantime.

Over dinner, Ismark quietly mourns Gertruda to Ireena and the players, adding hers to a list of names of Barovians he had failed to protect. Ireena is visibly stricken by the news of Gertruda’s disappearance, as the two had been close friends.

Night at the Mansion

That night, as the players rest in the mansion, each of them—including those who do not ordinarily sleep—are drawn into a shared dream.

In the dream, the players find themselves within Madam Eva's Tent (p. 37), seated across from an old crone—Madam Eva—whose face is concealed by the cowl of her cloak.

Madam Eva greets them and delivers the following message, pausing after every paragraph to allow the players to interject:

If the players appear suspicious of Madam Eva's motives, she says, "Your fates are more than your own. My vision is obscured, but I can see that your futures are intertwined with the very destiny of the land itself. In conquering this shadow, you may yet find salvation for others as well—and, in failure, may deliver damnation instead."

If the players ask for directions to Tser Pool, Madam Eva says only, "I am not far. Travel west. The path to my tent begins at a place of death."

B4d. Bildrath’s Mercantile

This area is largely as described in Bildrath’s Mercantile (p. 43); however, instead of selling items for ten times the price listed in the Player’s Handbook, he sells them for only twice the price, citing the recent economic upheaval. [[Note]]

If Ismark is present (or if the players mention him), Bildrath mocks him as “Ismark the Lesser” and instead raises his prices to five times the price listed in the Player’s Handbook, spitefully claiming them to be a “special deal” for friends of the town’s “great hero.” (Bildrath lost his sister and brother-in-law—Parriwimple’s parents—in Strahd’s recent siege, and blames Ismark for his failure to protect them. Bildrath has not yet worked up the courage to tell Parriwimple that his parents have died, telling him only that they “went on a long trip.”)

During the players’ conversation with Bildrath, Parriwimple enters the room carrying a box of wares that Bildrath asked him to fetch. He is excitedly curious about the players’ presence, but Bildrath orders him to return to his bedroom in order to avoid “disturbing the customers.”

If Bildrath orders Parriwimple to remove the players from the store, Parriwimple attempts to grapple them and pull them out the door, preferring to avoid violence if at all possible.

B4e. The Barovian Church

This area is largely as described in Church (p. 45). However, due to the changes in the timeline, Doru was sent to the church—and imprisoned beneath it—two weeks ago, at the start of the siege.

When the players arrive, they find Father Donavich kneeling before the altar, murmuring quietly in constant—almost babbled—prayer. If stirred, he greets the players with “...Doru?” before realizing that they are not his son.

Speaking with Donavich

If informed as to the reason for the players’ arrival, Father Donavich fetches a trio of shovels and invites the players and Ismark to join him in digging a grave in the cemetery outside.

If the players inquire about “Doru” and the screams beneath the chapel, Donavich relays Doru’s sad tale and the story of the wizard’s rebellion, as described in Chapel (p. 46) and the modified history above. (Donavich can’t remember the wizard’s name, though.)

If the players insist in slaying Doru, Donavich begs them to spare his son’s life, insisting that the Morninglord will show him a way to cure him. If the players ignore him and kill Doru, Donavich becomes withdrawn and inconsolable, leaving the players and Ismark to conduct the burgomaster’s burial themselves.

Confronting Doru

If the players insist on interrogating or speaking with Doru, Donavich warns them that Doru is unrestrained, and that he can neither guarantee their safety nor permit Doru to escape the undercroft.

If the players reassure him with a successful DC 15 Charisma (Persuasion) check, Donavich reluctantly fetches the key to the trapdoor’s lock from his chambers and unlocks the way to the undercroft.

When the players descend into the undercroft, Doru shies away from them. He whimpers that he can “smell their blood,” and pleads for “just a small taste.” If the players allow him, Doru sates his thirst with a single bite attack, which restores him to a more reasonable state of mind, allowing him to flesh out Donavich’s tale with the following information:

• The wizard’s name was Mordenkainen, and he was a powerful archmage, capable of flying through the air, transforming into mighty beasts, and even tearing open the walls of reality itself.
• In the castle, the mob saw terrible things—the walking dead, stone monsters, and an elf whose very presence tinged the air with screams.
• Strahd appeared without warning and broke the mob with a combination of martial prowess, powerful magic, and vampiric savagery. Doru remembers gazing into Strahd’s eyes, listening to his hypnotic voice, and then—after a dark void of memory—awakening in a shallow grave with a ravenous hunger for blood. [[Note]]

B4f. The Barovian Graveyard

This area is largely as described in E6. Cemetery (p. 48). At night, it is watched by two swarms of bats—spies of Strahd’s—who hang to the eaves of the church and the nearby mausoleums, watching the players.

In accordance with Barovian traditions, the burgomaster’s remains are to be buried at dawn. The plot for his grave abuts a row of fresh graves dug in the wake of the siege, including a grave marked "Danya" for Donavich's late wife. If Ismark is present, he recognizes the name and gives Father Donavich his condolences.

During the burial, Donavich offers prayers to the Morninglord, asking Kolyan’s deliverance from Barovia in the following refrain:

At the conclusion of Donavich’s prayer, unless any player wishes to offer any words, prayers, or tributes of their own, Donavich directs the players to lower the coffin into the ground.

With the burial concluded, Strahd’s bats take off into the air, vanishing up into the mist surrounding the base of Castle Ravenloft.

Donavich takes the bats’ presence as a bad omen. In a surprisingly lucid moment, he warns the players of a Barovian superstition that young women with red hair often find that ill luck travels beside them, and asks if Ireena plans to remain in Barovia. If told that Ireena intends to leave, Donavich suggests she be taken to the Abbey of Saint Markovia in Krezk, which once was a bastion of good, and may yet still offer some protection. [[Note]]

When the players return to the burgomaster’s manor following the burial, Ireena has adorned her chestplate and rapier, and has prepared a traveling bag to take to Vallaki. When the players are ready to leave, she bids Ismark a tearful farewell and sets off on the road.

Milestone. Burying the Burgomaster completes a story milestone. If the players depart Barovia with Ireena accompanying them, award each player 500 XP.

B4g. Mad Mary’s Townhouse

There should be no reason for the players to visit Mad Mary’s Townhouse (p. 44) in this revision. However, if they do, the following changes have been made:

Mad Mary did not hide Gertruda in this house for her entire life. Instead, Gertruda lived a fairly ordinary life—albeit one with a fairly overbearing widowed mother. (Ireena and Gertruda initially bonded as young girls over the loss of their parents.) When he was alive, Gertruda’s father was a merchant who raised Gertruda on stories of great lords and ladies, using their family’s meager funds to purchase her occasional books from Vistani caravans regarding diplomacy and military history.

The first floor of this old, dirty dwelling comprises a one-room divided living space. To the north lies a small kitchen, its countertops dirty and covered with dust. There is a broken glass on the floor and a rotted meal for two set on a table covered with a dirty blue tablecloth. (Mary poured herself a glass of wine to steady her nerves after realizing Gertruda's disappearance, and dropped it on the floor in anguish.)

Arc C: Into the Valley

In this arc, the players depart the village of Barovia for Tser Pool and the town of Vallaki. Upon their arrival at the River Ivlis Crossroads, they encounter Strahd von Zarovich for the first time, accompanied by Escher, one of his vampiric consorts.

After a tense conversation, the players head north to Tser Pool. On the way, they encounter a raven—the disguised wereraven Muriel Vinshaw—fleeing a monstrous strix, a scarecrow of the skies.

Soon afterward, the players finally arrive at the Vistani encampment at Tser Pool. There, they receive a magical Tarokka reading from Madam Eva, which foretells the location of three artifacts that will assist them in the fight against Strahd, as well as an ally who is destined to aid them.

Before departing Tser Pool, the players hear Vistani tales of Strahd's history and Mordenkainen's rebellion, and receive a mission from one of Strahd's secret Vistani spies that will take them to Blinsky Toys in Vallaki and the Vistani encmpment to Vallaki's southwest.

If the players are tasked with escorting Ireena to St. Andral's Church in Vallaki, or if they have their own reasons for doing so, they then return to the Old Svalich Road via the River Ivlis Crossroads, traveling west through the mountains. Along the way, they encounter:

• a strange skeletal rider seeking escape from the Barovian valley,
• a wolf's corpse beside a pair of fresh graves and a forgotten watchtower,
• a nameless revenant of the Order of the Silver Dragon standing watch atop the bridge over Tser Falls,
• the night hag Morgantha returning to the Old Bonegrinder windmill with her cart of dream pastries,
• two flocks of friendly ravens, and
• a werewolf accompanied by its pack of ravenous wolves. [[Note]]

"Good day," he says. "I am Count Strahd von Zarovich—and it is a pleasure to finally meet the newcomers to my domain. My friends have told me so much about you." His eyes linger over each one of you in turn, regarding you like a cut of meat weighed at market, a prey animal spotted by a predator in the bush—an intriguing but inanimate trinket.

The Conversation Begins

If undiverted, Strahd greets each of the player characters individually—by name, if his spies have had a chance to learn them and report back to him. While doing so, he makes a personal comment regarding each character’s species, class (if apparent from their equipment or dress), and/or personality (if reported by his spies). If possible, he frames each comment in the form of a compliment, sympathetic remark, or (sparingly) exceptionally veiled threat.

If Ireena is present, Strahd then asks if “Lady Kolyana” has properly introduced them to his domain, and apologizes for any “folktales” his subjects may have shared about him.

(He does not, however, deny his attack on the village of Barovia, noting only that the people of the village defied him in an act of utmost treason. "I am sure that you can agree that my response was a measured one," he says. "After all, no lord could tolerate a settlement that fostered such sedition. The good people of Barovia needed to be taught a lesson. Their discipline was a kindness that few others would entertain.")

As the conversation progresses, Strahd notes that he's heard "such wonderful things" of the players' exploits at "a certain old house at the edge of my domain." Strahd then makes brief reference to the players' actions in Death House, sardonically lauding:

• their "heroic and compassionate spirits" if they put Walter's spirit to rest;
• their "fierce and fiery valor" if they defeated the flesh mound; and/or
• their "cunning and ruthless will" if they made a sacrifice on the cult's altar.

(If the players ask about the nature of Death House, or its purpose in bringing them to Barovia, Strahd smiles coldly and says only, "The souls of the damned are tragically twisted things. Do not linger upon their madness.")

If the players ask about Strahd's driver, Strahd introduces him as Escher, "my coachman and cupbearer."

Strahd's Questions

During the conversation, at moments when it seems organic to do so, Strahd poses the players the following questions (in no particular order):

• "Ismark Kolyanovich defied me by keeping his sister from me. Why should I, as his lord, not punish him for his disloyalty?"
• "I have claimed Ireena Kolyana, and twice marked her as my own. Why should I not take her with me to Castle Ravenloft right now?"
• "You are trespassers in my lands, and the last outsider that entered Barovia fostered sedition and treachery. Why should I not dispatch with you now, in the same way that I dispatched with him?"

(Strahd's third question is referring to Mordenkainen, the archmage who rallied a peasant army and marched on Castle Ravenloft in an attempt to slay Strahd, but woke him instead.)

If the players buried Walter's bones and put the spirits of Death House to rest, Strahd poses an additional question:

• "Immediately prior to your entry to my lands, you caused great damage to a group of my servants—the occupants of a particular house on the borders of my domain. I had relied upon those servants to bring me specimens of interest, but your activities have left them indefinitely indisposed. Why should I not punish you for your crimes against them?"

Strahd frames each of these questions as a hypothetical. In asking them, is tone is inquisitive, curious, and at least somewhat amused. If the players despair at the prospect of answering these questions at all, Strahd notes, "I am not an unreasonable man. If there is some reason or rationale that I might have missed, by all means, do enlighten me."

Strahd's Concessions

As the players attempt to answer his questions, Strahd delights in playing Devil's advocate, pushing back against their responses and probing at the holes in their reasoning.

Ultimately, though, if the players' points are at least reasonably well-argued, Strahd is willing to accept them. (It should be fairly clear to the players, however, that he is merely humoring them by accepting their responses.)

The players can push Strahd to make the following concessions:

• He agrees to overlook Ismark's transgressions, so long as Ismark does not defy him or act counter to his will again.

Strahd, First Form

Medium undead (shapechanger), lawful evil

• Armor Class 16 (natural armor)
• Hit Points 150 (53d8 + 212, divided by 3)
• Speed 30 ft., climb 30 ft.

STR	DEX	CON	INT	WIS	CHA
20 (+5)	20 (+5)	18 (+4)	20 (+5)	15 (+2)	20 (+5)

• Saving Throws Dex +11, Wis +8, Cha +11
• Skills Arcana +17, Perception +14, Religion +11, Stealth +16
• Damage Resistances necrotic; bludgeoning, piercing, and slashing from nonmagical attacks
• Senses darkvision 120 ft., passive Perception 24
• Languages Abyssal, Common, Draconic, Elvish, Giant, Infernal
• Challenge CR 15 (6,450 XP) or 11 (3,800 XP) when fought in sunlight
• Proficiency Bonus. +6

Legendary Resistance (1/Day). If Strahd fails a saving throw, he can choose to succeed instead.

Regeneration. Strahd regains 20 hit points at the start of his turn if he has at least 1 hit point and isn’t in sunlight. If he takes radiant damage, this trait doesn’t function at the start of his next turn.

Spider Climb. Strahd can move up, down, and across vertical surfaces and upside down along ceilings, while leaving his hands free.

Sunlight Hypersensitivity. While in sunlight, Strahd takes 20 radiant damage at the start of his turn, and he has disadvantage on attack rolls and ability checks.

Blessings of the Fanes. While Strahd retains the power of the Fanes of Barovia, he receives the following respective benefits: a +3 bonus to his Armor Class (Forest Fane); resistance to cold, fire, lightning, and poison damage, as well as the ability to cast the control weather spell as an action once per day (Swamp Fane); and the effects of permanent nondetection and true seeing spells (Mountain Fane).

Spellcasting. Strahd is a 10th-level spellcaster. His spellcasting ability is Intelligence (spell save DC 19, +11 to hit with spell attacks). He can cast the following wizard spells:

At will: mage hand, prestidigitation, ray of frost, magic missile

3/day each: shield, absorb elements, animate dead, detect thoughts

2/day each: blindness/deafness (at 3rd level), lightning bolt, counterspell, dispel magic

1/day each: greater invisibility, polymorph, telekinesis, scrying

Swordsman's Aggravation. When Strahd drops to 0 hit points, his statistics are instantly replaced by the statistics of his second form. (If his second form has 0 hit points, it gains 1 hit point.) His initiative count doesn't change, but he loses his concentration.

Actions

Cast a Spell. Strahd casts a spell with a casting time of 1 action.

Bonus Actions

Misty Step. Strahd casts the spell misty step without expending a spell slot.

Frigid Shield (1/Day). Strahd conjures a magical shield of thin and wispy flames that burn cold instead of hot, which lasts for 1 minute or until he loses his concentration (as if concentrating on a spell). While the shield lasts, a creature that hits Strahd with a melee attack within 5 feet takes 9 (2d8) cold damage.

Tactical Shift. Strahd's statistics are replaced by the statistics of his second or third form if that form has at least 1 hit point remaining. His initiative count doesn't change, but he loses his concentration. (Any damage that Strahd has previously taken in his first form is preserved, but doesn't carry over to his new form.)

Vampire Features

In all forms, Strahd has the following features:

Undead Nature. Strahd doesn't require air.

Forbiddance. Strahd can't enter a residence without an invitation from one of the occupants.

Chained to the Grave. Strahd cannot gain the benefits of a long rest except by resting in his coffin for eight hours between dawn and dusk

Children of the Night. Strahd can comprehend and verbally communicate with nonmagical bats, wolves, and rats, which obey his commands.

Strahd, Second Form

Medium undead (shapechanger), lawful evil

• Armor Class 16 (natural armor)
• Hit Points 264 (24d8 + 96)
• Speed 30 ft.

STR	DEX	CON	INT	WIS	CHA
20 (+5)	20 (+5)	18 (+4)	20 (+5)	15 (+2)	20 (+5)

• Saving Throws Dex +11, Wis +8, Cha +11
• Skills Arcana +17, Perception +14, Religion +11, Stealth +16
• Damage Resistances necrotic; bludgeoning, piercing, and slashing from nonmagical attacks
• Senses darkvision 120 ft., passive Perception 24
• Languages Abyssal, Common, Draconic, Elvish, Giant, Infernal
• Challenge CR 15 (6,450 XP) or 11 (3,800 XP) when fought in sunlight
• Proficiency Bonus. +6

Legendary Resistance (1/Day). If Strahd fails a saving throw, he can choose to succeed instead.

Regeneration. Strahd regains 20 hit points at the start of his turn if he has at least 1 hit point and isn’t in sunlight. If he takes radiant damage, this trait doesn’t function at the start of his next turn.

Sunlight Hypersensitivity. While in sunlight, Strahd takes 20 radiant damage at the start of his turn, and he has disadvantage on attack rolls and ability checks.

Spider Climb. Strahd can move up, down, and across vertical surfaces and upside down along ceilings, while leaving his hands free.

Blessings of the Fanes. While Strahd retains the power of the Fanes of Barovia, he receives the following respective benefits: a +3 bonus to his Armor Class (Forest Fane); resistance to cold, fire, lightning, and poison damage, as well as the ability to cast the control weather spell as an action once per day (Swamp Fane); and the effects of permanent nondetection and true seeing spells (Mountain Fane).

Vampiric Aggravation. When Strahd drops to 0 hit points, if his first form has at least 1 hit point remaining, his statistics are instantly replaced by the statistics of his first form. Otherwise, his statistics are instantly replaced by the statistics of his third form. In either case, Strahd's initiative count doesn't change.

Actions

Multiattack. Strahd makes four melee attacks.

Longsword. Melee Weapon Attack: +11 to hit, reach 5 ft., one target. Hit: 9 (1d8 + 5) slashing damage or 10 (1d10 + 5) slashing damage if used with two hands, plus 4 (1d8) necrotic damage.

Bonus Actions

Hilt Bash. +11 to hit, 10 (2d4 + 5) bludgeoning damage. If the target is a Medium or smaller creature, it must succeed on a DC 19 Strength saving throw or be knocked prone.

Aggressive. As a bonus action, Strahd can move up to his speed toward a hostile creature he can see.

Tactical Shift. Strahd's statistics are replaced by the statistics of his first or third form if that form has at least 1 hit point remaining. His initiative count doesn't change, but he loses his concentration. (Any damage that Strahd has previously taken in his second form is preserved, but doesn't carry over to his new form.)

The Players Misbehave

If any of the players act rudely toward Strahd, he doesn't feel a need to "punish" or "discipline" them. Instead, he responds with amusem*nt, like a parent soothing a child throwing a tantrum. Strahd doesn't view the players as a threat to either his ego, his person, or his reputation, and treats them accordingly. [[Note]]

In such a situation, Strahd might draw upon the following lines of dialogue when responding to a misbehaving player:

• "Do not imagine that you are the first to invade my realm."
• "If you are trying to impress me, you have failed."
• "What lies do you tell yourself before you close your eyes at night?"
• "There is none in all of Barovia whose honor you have more cause to trust."

Strahd, Third Form

Medium undead (shapechanger), lawful evil

• Armor Class 16 (natural armor)
• Hit Points 204 (24d8 + 96)
• Speed 30 ft., fly 30 ft. (hover)

STR	DEX	CON	INT	WIS	CHA
20 (+5)	20 (+5)	18 (+4)	20 (+5)	15 (+2)	20 (+5)

• Saving Throws Dex +11, Wis +8, Cha +11
• Skills Arcana +17, Perception +14, Religion +11, Stealth +16
• Damage Resistances necrotic; bludgeoning, piercing, and slashing from nonmagical attacks
• Senses darkvision 120 ft., passive Perception 24.
• Languages Abyssal, Common, Draconic, Elvish, Giant, Infernal
• Challenge CR 15 (6,450 XP) or 11 (3,800 XP) when fought in sunlight
• Proficiency Bonus. +6

Legendary Resistance (1/Day). If Strahd fails a saving throw, he can choose to succeed instead.

Regeneration. Strahd regains 20 hit points at the start of his turn if he has at least 1 hit point and isn’t in sunlight. If he takes radiant damage, this trait doesn’t function at the start of his next turn.

Sunlight Hypersensitivity. While in sunlight, Strahd takes 20 radiant damage at the start of his turn, and he has disadvantage on attack rolls and ability checks.

Spider Climb. Strahd can move up, down, and across vertical surfaces and upside down along ceilings, while leaving his hands free.

Blessings of the Fanes. While Strahd retains the power of the Fanes of Barovia, he receives the following respective benefits: a +3 bonus to his Armor Class (Forest Fane); resistance to cold, fire, lightning, and poison damage, as well as the ability to cast the control weather spell as an action once per day (Swamp Fane); and the effects of permanent nondetection and true seeing spells (Mountain Fane).

Actions

Multiattack. Strahd makes three attacks, only one of which can be a bite attack.

Unarmed Strike (Vampire or Wolf Form Only). Melee Weapon Attack: +11 to hit, reach 5 ft., one target. Hit: 9 (1d8 + 5) slashing damage, plus 10 (3d6) necrotic damage. If the target is a creature, Strahd can grapple it (escape DC 19) instead of dealing the slashing damage.

Bite. Melee Weapon Attack: +11 to hit, reach 5 ft., one willing creature, or a creature that is grappled by Strahd, incapacitated, or restrained. Hit: 8 (1d6 + 5) piercing damage plus 10 (3d6) necrotic damage. The target's hit point maximum is reduced by an amount equal to the necrotic damage taken, and Strahd regains hit points equal to that amount.

The reduction lasts until the target finishes a long rest. The target dies if its hit point maximum is reduced to 0. A humanoid slain in this way and then buried in the ground rises the following night as a vampire spawn under Strahd's control.

Charm. One humanoid within 30 feet that Strahd can see must make a DC 19 Wisdom saving throw or be magically charmed for 1 minute or until Strahd loses his concentration (as if concentrating on a spell). A target that can't see Strahd automatically succeeds. While charmed, the target regards Strahd as a trusted friend to be heeded and protected; it isn't under Strahd's control, but takes his requests and actions in the most favorable way and lets Strahd bite it. The target can repeat the saving throw at the end of each of its turns, ending the effect on a success.

If the target is still charmed at the end of the minute, the effect lasts for 24 hours, until Strahd is destroyed, or until he takes a bonus action to end it.

Bonus Actions

Shapechange. Strahd magically assumes the shape, speed, and size of a bat, wolf, or cloud of mist (medium elemental, fly 30 ft. (hover)), or returns to his true form. His statistics are otherwise unchanged. Anything he is wearing transforms with him, but nothing he is carrying does. He reverts to his true form if he drops to 0 hit points or uses Tactical Shift.

Tactical Shift. Strahd's statistics are replaced by the statistics of his first or second form if that form has at least 1 hit point remaining. His initiative count doesn't change, but he loses his concentration. (Any damage that Strahd has previously taken in his third form is preserved, but doesn't carry over to his new form.)

Reactions

Misty Escape. When Strahd takes damage, he can move up to his speed without provoking opportunity attacks.

Departing the Crossroads

As the players move to depart the River Ivlis Crossroads after Strahd has left, they encounter The Hanged One (p. 35). (The character hanged from the gallows should be the character who was the rudest to Strahd or the least cooperative with his questions.) [[Note]]

C3. The Path to Tser Pool

In this scene, just before the players arrive at the Tser Pool Encampment, they hear the sound of a distressed bird cawing from above. A raven with blue-tipped wings—recognizably the same raven that met them in the village of Barovia—then crashes into the road at the players’ feet, visibly wounded. This is, again, the wereraven Muriel, in disguise with 1 hit point. Her wings and torso have been penetrated by several dozen silver barbs, leaving her unable to fly, regenerate, or transform until removed. [[Note]]

The raven’s arrival is followed soon after by a terrible, grating shriek and the arrival of a strix (using the statistics of a manticore): an enormous artificial “bird” crafted of wood, animal skins, burlap, and hundreds of black raven’s feathers. This abomination was built by the witch Baba Lysaga to hunt down wereravens. (Instead of actual tail spikes, the strix’s tail spikes attack releases a volley of dozens of tiny silver barbs from its wings.)

This particular strix—a gift from Baba Lysaga to Strahd upon his awakening—has been ordered to hunt and kill Muriel, who was spotted eavesdropping on the Tarokka reading that Strahd received from Madam Eva earlier that morning. It continues to pursue Muriel, attacking the players if they obstruct it. It fights to the death.

If rescued, Muriel remains with the players until she can discern their intent. If she learns that they plan to travel to Vallaki, she travels with them while maintaining her raven disguise, hoping to rely upon safety in numbers until she can report her findings to Urwin Martikov at the Blue Water Inn.

C4. Tser Pool

The journey from the River Ivlis Crossroads to the Tser Pool Encampment is one-and-a-half miles long and takes thirty minutes.

NPC Profile | Madam Eva

Roleplaying Information

Resonance. Madam Eva should make the players feel uncomfortable (due to her occasional madness), grateful (due to her unshakable confidence in her predictions), and irritated (due to her utter refusal to share information beyond that contained in her foretellings).

Emotions. Madam Eva's most frequent emotions are amusem*nt, solemnity, concern, and contemplation.

Motivations. Madam Eva's actions are most often motivated by her hope that, one day, she will see the land of Barovia heal and be freed from Strahd's corruption and control.

Inspirations. Consider taking inspiration for Madam Eva from The Ancient One (Doctor Strange) and the Fates (Hercules).

Character Information

Persona. To strangers, Madam Eva appears as a wise, yet maddened crone who speaks in riddles and prophecies. To those who Madam Eva trusts, she appears as a kind, yet frustratingly opaque and stubborn old woman.

Morale. In a fight, Madam Eva would calmly insist that her opponent cease their attacks, then—if her Vistani aides prove unable to stop her assailant—weaken them with the harm spell before demanding their surrender.

Relationships. Madam Eva alone knows that she is a vestige of the Seeker—one of the three Ladies of the Fanes.

C4c. A Gift for Arabelle

Following their meeting with Madam Eva, Arahja and Rina are glad to entertain the players, seating them by the campfire where other Vistani provide them food and wine. They can inform the players that the journey to Vallaki is nearly six hours—long enough that night would likely fall before they would arrive—and suggest that the players stay the night at Tser Pool.

While sitting around the campfire, an old Vistana named Stanimir invites them to share a story "that can make a man laugh or weep," as is the custom for guests invited to a Vistani fire. As a roleplaying exercise, each player may then relay a personal tale of joy or sorrow, keeping it as brief and vague as desired. [[Note]]

The players are then invited to listen to two stories told by the Vistani: [[Note]]

• first, a tale told by Stanimir, as described in Mysterious Visitors (p. 20) but without its final paragraph, and
• second, a tale told by a young female Vistana named Eliza, as described in A Vistana’s Tale (p. 36), with the dates changed to reflect the revised recent history of Barovia described above.

After delivering her tale, Eliza—who bears a large magpie on her shoulder and wears a bright red sash—approaches the characters. She greets the players warmly and, with amusem*nt, asks whether they are "powerful mages come to tear down the stones of Ravenloft," like the land’s last notable visitor.

Regardless of the players’ response, Eliza asks them where they plan to travel next. If they tell her that Vallaki is their next destination, she offers them a pouch containing 5 gold pieces and asks them to use it to purchase a toy in Vallaki for her niece, Arabelle, as a gift from her in advance of the girl’s tenth birthday. [[Note]]

Eliza claims that she would deliver it herself, but is currently unable to leave Tser Pool. This is a lie. In reality, Eliza’s request is a signal to Arrigal—one of the leaders of the Vistani encampment outside Vallaki, and another of Strahd’s servants—to drug the players with poisoned wine when they arrive, then interrogate them as to the nature of the Tarokka reading they received.

C5. The Skeletal Rider

When the players return to the River Ivlis Crossroads after receiving the Tarokka reading, they encounter a skeletal rider, as described in Skeletal Rider (p. 31). [[Note]]

C6. The Watchtower

As the players travel west from the River Ivlis Crossroads, read:

The Watchtower

The ruined watchtower was built as a lookout post by the Order of the Silver Dragon long ago. It has the same appearance as the Guard Tower (p. 157) at Tsolenka Pass, with the following changes:

• The tower door has been half-pulled from its hinges and can be opened easily.
• The temperature and wind in the tower are far less severe.
• There is no dire wolf's head mounted above the hearth.
• There are neither statues nor skeletons atop the battlements.

If the players explore the watchtower, they find a broken pendant of a silver dragon lying on the ground of the first floor, close to the entrance. The pendant is always cold to the touch.

From atop the battlements of the watchtower, the players can see Tser Falls to the northwest and Tser Pool to the northeast. To the south, above and beyond the slopes of Mount Ghakis, they can see only an impenetrable wall of thick gray fog. [[Note]]

The Graves

The two graves hold the remains of two Barovian refugees who were slain by wolves during the journey to Vallaki some time ago. A DC 12 Wisdom (Survival) check reveals that the graves are no more than a few days old.

Small pebbles have been arranged in the soil atop each grave to form the shape of a rising sunburst. [[Note]]

The Corpse

The corpse belongs to a wolf killed by spears and crossbow bolts. The Barovian refugees left it here after slaying it and driving off the other members of its pack.

C7. Tser Falls

The journey from the River Ivlis Crossroads to Tser Falls is seven-and-a-half miles long, or two-and-a-half hours.

C8. Black Carriage

The journey from Tser Falls to the Black Carriage (p. 37) is one-and-a-half miles and takes thirty minutes. As the players make this journey, read:

This area is as described in Black Carriage (p. 37). (Strahd's carriage is not present, though the players can see deep grooves in the muddy road that pass from the Old Svalich Road onto the old cobblestone-strewn thoroughfare that leads to Castle Ravenloft.)

The journey from the Black Carriage to the western Gates of Ravenloft is a quarter-mile and takes five minutes. This area is as described in Gates of Ravenloft (p. 38), but seen from the opposite side.

C9. Old Bonegrinder

The journey from the Gates of Ravenloft to Old Bonegrinder is two-and-a-half miles long and takes forty-five minutes. As the players make this journey, read:

Briefly pause to allow the players to act or react. If the players choose to investigate the slab, they find that it bears a crude carving of a wolf's head, the grooves lined with lichen and moss. (The slab is an ancient monument to the Huntress, one of the Ladies Three.) [[Note]]

If the players remain silent or continue ahead, read:

The players emerge at the base of the hill upon which Old Bonegrinder rests, as described in Approaching the Windmill (p. 125).

As the windmill comes into view, the players also notice Morgantha approaching from the opposite direction with her cart, as described in Dream Pastries (p. 48). [[Note]]

This scene largely unfolds as described in Dream Pastries (p. 48), but with the following changes:

• Morgantha is coming from the town of Vallaki, not the village of Barovia.
• Morgantha doesn't have a child stuffed into a sack in her peddler's cart.
• Morgantha doesn't avoid the players.

Morgantha greets the players warmly, calling them "weary travelers," and shares her hope that the road has not been too hard on them. She freely shares the following information if asked:

• She is a peddler who sells baked wares to the "good people of Barovia."

C10. The Werewolf's Hunt

The journey from Old Bonegrinder to the **Town of Vallaki ** five-and-three-quarter miles long and takes two hours. As the players make this journey, read:

This encounter unfolds as described in Swarms of Ravens (p. 32), with the party joined by two swarms of ravens. If she is with the party and able to fly, the disguised Muriel takes wing alongside the flock, but keeps a sharp eye on the players as they travel. [[Note]]

As the players proceed down the road, read:

If one of the players has a passive Wisdom (Perception) score of 14 or higher, or if one of the players makes a successful DC 14 Wisdom (Perception) check, add:

The movement belongs to a wolf. Its six wolf packmates—led by a single werewolf (in wolf form)—are not far behind.

Soon after the first wolf appears, the pack attacks. Read:

Have the players, wolves, werewolf, and (if they are with the party) Ireena, the swarms of ravens, and Muriel roll initiative. Any character with a passive Wisdom (Perception) score lower than 14 is surprised. The werewolf joins combat at the beginning of the second round, targeting whichever enemy looks weakest.

Each wolf gains the following additional action option: [[Note]]

• Maul. Melee Weapon Attack: +4 to hit, reach 5 ft., one target. Hit: 7 (2d4 + 2) piercing damage. Instead of dealing damage, the wolf can grapple the target (escape DC 11).

In combat, the wolves work together, using their Bite to knock characters prone, then using their Maul to grapple prone targets. Once the wolves have dragged a grappled character away from the party, the werewolf targets them with its bite.

The werewolf flees if reduced to 20 hit points or fewer, with any surviving wolves following soon after.

Lycanthropy in Barovia

In Barovia, the curse of lycanthropy spreads as described in Player Characters as Lycanthropes (Monster Manual, p. 207). However, an infected player or other creature does not automatically receive any changes to their ability scores or Armor Class, nor do they automatically receive the benefits of the lycanthrope's stat block (e.g., immunities or regeneration). [[Note]]

Instead, an infected creature only receives the benefits of lycanthropy upon transforming into their hybrid form on the night of the full moon. During this time, the creature becomes an NPC under the DM's control until dawn, at which point the creature loses the benefits of lycanthropy.

An infected creature can embrace the curse of lycanthropy—and so gain its full benefits—by completing a certain task, depending on the nature of their curse:

• An infected werewolf must voluntarily kill another humanoid and devour their flesh.

• An infected wereraven must be knocked unconscious while voluntarily attempting to protect another humanoid from (what they believe to be) near-certain death.

An infected lycanthrope can be recognized by the scar of the wound that originally transmitted the curse. (The wound will never entirely heal, and remains raw and bloody until the curse is lifted.)

A creature born from two lycanthrope parents possesses the full benefits of lycanthropy from birth, and may learn to control their curse as they age.

Finally, while the mists remain, the lunar cycle is accelerated in Barovia: the full moon arrives once every two weeks, instead of once every four. The first full moon that the players experience takes place on the third night after they first arrive in Vallaki.

B4. The Town of Vallaki

The Guards at the Gates

The guards at the gates largely act as described in Town Gates (p. 95). However, the guards demand that each person pays 1 gold piece as a toll in order to enter the village. (The Baron has imposed this law to prevent werewolves or Vistani from entering the town.) [[Note]]

The guards refuse to accept payment on behalf of the refugees, who the Baron has specifically barred from entering, claiming concerns of "sickness, unruliness, and malicious unhappiness."

If the players pay the toll, the guards also insist that each entrant opens their purse (or equivalent) and surrender any silver pieces in their possession. (If the players complain, the guards assure them that the silver is needed to produce the silvered weapons necessary to defend the town from werewolves.) In exchange for any silver coins that they give up, the players receive an amount of copper coins of equal value—minus a ten percent tax. [[Note]]

If asked about lodging, the guards can share information about the Blue Water Inn, as described in Vallaki Lore (p. 96). The guards are also willing to provide additional directions to other landmarks in the town in exchange for a bribe of 1 gold piece.

Each time the players pass through the gates, including the first, the guards nod at them and intone the Baron's favored phrase: "All will be well." [[Note]]

Entering the Town

As the players pass down Vallaki's main avenue, read:

If the players arrive during the day, add:

Otherwise, if the players arrive at night, add:

The cloaked figure is Willemina Rikalova, as described in St. Andral's Church (p. 97). She is traveling to the church to pray for the freedom of her son, Udo Lukovich.

As the characters pass through the streets, they are noticed by Ernst Larnak, who intently watches them—though doesn't follow them—as described in Lady Wachter's Wish (p. 124). (Ernst does not yet deliver an invitation to dine with Lady Wachter, though he does return to N4. Wachterhaus (p. 110) to report back to Lady Wachter when the players leave his sight.) [[Note]]

B4b. The Blue Water Inn

This area is largely as described in N2. Blue Water Inn (p. 98).

When the players first arrive, assuming they arrive between late afternoon and early evening, the inn contains the following notable NPCs: [[Note]]

• Danika Martikov, who is pouring drinks and serving patrons in the N2c. Taproom;

NPC Profile | Urwin & Danika Martikov

Roleplaying Information

Resonance. Urwin should make the players feel amused (due to his bad puns and jokes), grateful (due to his genuine interest in assisting and guiding the players), and comfortable (due to the obvious compassion that he has for his family, his neighbors, and the players).

Danika should make the players feel amused (due to her "straight-man," good-natured banter with Urwin), grateful (due to her genuine efforts to make the players feel welcome and comfortable), and comfortable (due to her practical, down-to-earth nature and her fierce dedication to her family, her home, and her business).

Emotions. Urwin's most frequent emotions are amusem*nt, satisfaction, cheeriness, thoughtfulness, concern, and hopefulness. Danika's most frequent emotions are fondness, satisfaction, congeniality, determination, and affection.

Motivations. Urwin's actions are most often motivated by his love for his family, his passion for hosting guests, and his desire to see the people of Barovia freed from Strahd's darkness and tyranny. Danika's actions are most often motivated by her love for her family, her pride in running a good business, and her desire for her children to see sunlight one day.

Inspirations. Consider taking inspiration for Urwin from Vander (Arcane), Greg Universe (Steven Universe), and Linda Belcher (Bob's Burgers). Consider taking inspiration for Danika from Tenzin (Avatar: The Legend of Korra), Bob Belcher (Bob's Burgers*), and Garnet (Steven Universe).

Character Information

Persona. To strangers, Urwin appears as a kind, fatherly figure, family man, and welcoming host with an ever-present twinkle in his eye. To those Urwin trusts, he appears as a committed, yet concerned father with fierce hope for the future of Barovia and as a wise, yet cunning tactician and spymaster. Deep down, Urwin feels deep fear for his son's futures in a realm ruled by Strahd, and quiet shame for the fact that his skillset and family situation limits him to the sidelines of any resistance efforts.

Meanwhile, to strangers, Danika appears as a practical, no-nonsense businesswoman with a heart of gold and a strong dedication to her guests and family. To those Danika trusts, she appears as a fierce mother with a deep sense of loyalty to the Martikov family that she married into. Deep down, Danika feels grimly certain that Strahd will fall one day—but is quietly frightened of how far she might go to protect those she loves if the time comes.Morale. In a fight, Urwin would immediately attempt to defuse the situation, and attempt to flee if unsuccessful—though not before escorting anyone else out of harm's way. Meanwhile, Danika would similarly attempt to deescalate, but would fight to the death if necessary to protect her loved ones.

Relationships. Urwin and Danika are the parents of Brom and Bray Martikov. Urwin is also the son of Davian Martikov and the older brother of Adrian, Elvir, and Stefania Martikov. In addition to owning the Blue Water Inn, both Urwin and Danika are also high-ranking members of the Keepers of the Feather.

Entering the Inn

When the players first enter the inn, Danika greets them and asks them to wait at the bar while she tends to other patrons.

If the characters approach the bar, Urwin exits the kitchen carrying a tray of fresh-baked bread, hot beet stew, and wolf steaks, which he sets down on the bar. (The food smells mouthwateringly delicious.)

Urwin greets the players warmly and welcomes them to the Blue Water Inn. If the players don't direct the conversation elsewhere, he notes that they look like travelers and asks if they need rooms for the night.

Before Urwin can reply to the players, Danika returns and apologizes to the players for her delay. Assuming the players do not interrupt, the conversation then proceeds as follows:

• Danika lightheartedly accuses Urwin of plotting to rent rooms to guests "for free" again, an allegation that Urwin cheerfully denies.
• Danika tells the players that Urwin has already let one other guest stay for free for almost a month, and would "bankrupt the inn" with generosity if she weren't there to keep the books. Urwin graciously concedes the point.)
• "After all," Urwin says cheekily, "why else did I marry you?" With a smile, Danika replies, "A rare instance of common sense, I imagine."
• Danika pecks Urwin's cheek with a kiss and says, "The table by the window is getting hungry." Urwin winks at the players, picks up the tray again, and exits the bar to deliver the food.

Danika then tells the players the the rates for room and board, as listed in N2. Blue Water Inn (p. 98). (Both the large guest room, N2m. Guest Room (p. 102), as well as the two small guest rooms, N2l. Guest Rooms (p. 102), are available for rent.) When Urwin returns, he offers to take the players' orders for dinner, assuming they're hungry.

The players then have a few minutes to talk with Urwin and Danika or amongst themselves. During this conversation, Urwin and Danika can provide the players with information about Rictavio, the Festival of the Blazing Sun, and the nearby Vistani camp, as described in Vallaki Lore (p. 96).

The Wolf-Hunters Arrive

If the players order food or wine in the taproom, Danika offers to seat them at the long table at the south end of the taproom. (See Map 5.2: Blue Water Inn.) While the players wait to be served, Szoldar Szoldarovich and Yevgeni Krushkin enter the inn and proceed to the bar, where they order pints of wine.

Assuming the players do not interrupt, they can overhear the following conversation between Danika, Szoldar, and Yevgeni while Danika pours the wolf-hunters' drinks:

• Danika greets Szoldar and Yevgeni and asks how the day's "wolf hunt" has gone.
• Szoldar tells Danika that they've managed to kill several wolves in the Svalich Wood west of Vallaki, but more keep coming—both ordinary wolves and horse-sized dire wolves.
• Danika thanks the two for their work, and notes that the inn will need another shipment of wolf steaks soon, an order that Szoldar promises to fill.

Szoldar and Yevgeni then take two seats at the south side of the bar, where they nurse their drinks for the rest of the evening.

If the players approach them and strike up a conversation, Szoldar and Yevgeni are largely as described in N2c. Taproom (p. 100). Additionally, the wolf-hunters can tell the players about the danger of fishing on Lake Zarovich, the nearby Vistani camp, the haunted mansion to the west, and the abandoned village to the south, as described in Vallaki Lore (p. 96).

Dinner is Served

Shortly after Szoldar and Yevgeni are served their drinks, if the players ordered dinner, Danika approaches their table with a tray of food. As she serves them, she is suddenly jostled from behind, sending one of the bowls of soup tumbling from her grasp. The two players sitting at the northernmost end of the table must make DC 10 Dexterity saving throws, catching the bowl on a success. (If both players succeed, the player with the higher result catches the bowl first. If neither player succeeds, the bowl topples onto the floor, spilling the soup.) [[Note]]

Danika turns, revealing the culprit: a red-cheeked Brom Martikov wearing one of the painted wooden clown masks as described in N2o. Boy' Bedroom (p. 102). (Bray Martikov, wearing the other mask of the pair, is cowering behind one of the chairs of the nearest table.)

If the players do not interrupt, Danika scolds the boys as follows:

• Danika sharply (though not unkindly) addresses Brom and Bray by their full names. Both children snap to attention.
• Danika asks the boys, "What did your father tell you about wearing those masks in the taproom?" Both boys remove their masks, flushed, and Brom says, sheepishly, "We're not supposed to do it."
• Danika then asks the boys, "And what did I tell you about running in the taproom?" The two are quiet, then Bray pipes up, "...we're not s'posed to do it?" Danika replies, "Exactly."

If the soup was spilled, Danika directs Bray to fetch a pail of water from N2a. Well outside, and Brom to fetch a mop from the kitchen to clean up the mess. If the soup wasn't spilled, Danika reminds the boys that they're supposed to be helping their father cook dinner, and shoos them into the kitchen.

In either case, Danika apologizes to the players and offers them free meals the following evening. If the players ask about Brom and Bray, Danika smiles fondly and says, "They can be a handful sometimes, but they're good boys."

If the players ask about the children's masks, Danika tells them that Urwin bought them from the local toymaker, Gadolf Blinsky, who works at N7. Blinsky Toys (p.118).

The Brothers Wachter

As the players eat their dinner, Nikolai and Karl Wachter enter the taproom, obviously at least somewhat drunk. (The two are as described in N2c. Taproom (p. 100).) [[Note]]

Slightly slurring his words, Nikolai announces to the bar, "My fellow Vallakians! All is not well!" The room abruptly becomes quiet and tense. If the players do not interrupt, a beat later, Karl steps forward, leaning on his brother, and booms, "...at least, not until I've got a bellyfull of wine!" A tense, humorless chuckle rolls through the taproom, and the other patrons return to their business.

Karl and Nikolai then stumble toward the bar, where Danika is regarding them skeptically. If the players do not interrupt, they can overhear the following conversation:

• Danika greets the Karl and Nikolai by name, and asks, "Haven't you already had too much to drink, boys?"
• Nikolai waves away her words and says, "Nonsense—we've only begun! Two pints of wine to start, and keep them coming." Danika replies, "We're starting to run a bit low on some of our vintage stock—can I start you with some Purple Grapemash No. 3?" Nikolai scoffs and says, "What do you take us for—tasteless peasants? Red Dragon Crush, and don't be stingy."
• As she pours their wine, Danika says idly, "Does your mother know what you're up to this evening?" Karl waits until he receives his pint, then grunts, "Mother's far too busy these days. And what she doesn't know can't hurt her." ("Or us," Nikolai charms in, elbowing his brother. The two chuckle, then return to their drinks.)

Shortly after the Wachter brothers arrive, Urwin exits the kitchen carrying a tray of food, which he sets down at a nearby table. On his way back to the kitchen, he stops at the players' table and asks their opinions on the food.

NPC Profile | Nikolai & Karl Wachter

Roleplaying Information

Resonance. NAME should make the players feel

Emotions. NAME's most frequent emotions are

Motivations. NAME's actions are most often motivated by

Inspirations. Consider taking inspiration for NAME from

Character Information

Persona. To strangers, NAME appears as. To those NAME trusts, NAME appears as. Deep down, NAME.

Morale. In a fight, NAME would.

Relationships. NAME is.

The Ringmaster Arrives

Soon after the Wachter brothers receive their drinks, Rictavio arrives, entering the taproom through the front door. He is largely as described in Rictavio (p. 238) and N2c. Taproom (p. 100). [[Note]]

Though Rictavio appears to be headed for the stairs leading to N2j. Great Balcony, Nikolai and Karl catch sight of him and begin to hoot and holler in his direction, calling, "It's the carnival-man! Tell us a story, carnival-man!" (As they do, the players can see Brom and Bray standing beside the bar, helping Danika wipe some glasses dry.) A few patrons around the bar pick up the cry, and Rictavio turns, flourishing his cape, and beams, vowing, "Who would Rictavio be if he did not quench his fans' thirst for revelry?"

Unless interrupted, Rictavio then leaps halfway up the staircase leading from the taproom to N2j. Great Balcony, where he delivers the following tale:

The patrons of the inn burst into laughter and applause—a welcome respite from the previous dreary mood. Rictavio takes another flourishing bow and excuses himself, retiring for the night to N2n Private Guest Room.

NPC Profile | Rictavio

Roleplaying Information

Resonance. Rictavio should make the players feel amused (due to his flamboyant dress and manner of speech, which often includes referring to himself in the third person).

Emotions. To onlookers, Rictavio's most frequent emotions are amusem*nt, delight, and satisfaction.

Motivations. Rictavio's actions are most often motivated by his desire to maintain his reputation as an amusing, somewhat outrageous carnival ringmaster.

Inspirations. Consider taking inspiration for Rictavio from Varrick (Avatar: The Legend of Korra) or a stereotypical carnival barker.

Character Information

Persona. To strangers, Rictavio appears as a flamboyant, irreverent, and occasionally narcissistic carnival ringmaster.

Morale. In a fight, Rictavio would attempt to fast-talk his way out of trouble, fleeing from battle if hostilities seem unavoidable. (He might, however, step in to defend an innocent from harm at the hands of the supernatural—though while doing his best to preserve his secret identity.)

Relationships. Rictavio is secretly Dr. Rudolph van Richten, a famed vampire hunter.

End of the Evening

The taproom slowly clears out over the following two hours. If the players rented rooms for the night, Danika eventually approaches their table and offers to show them to their rooms. (See N2l. Guest Rooms and N2m. Guest Room (p. 102)). During the tour, Danika lets them know that they're free to request fresh linens or a tub of hot water (for a bath) be brought up to their rooms. "Breakfast is served an hour after sunrise," she says warmly, and adds, "Feel free to let us know if you need anything else."

Milestone. Arriving in Vallaki completes a story milestone. When the party takes its first long rest in Vallaki, award each player 900 XP, plus an additional 100 XP if they successfully escorted Ireena to Vallaki. (The players don't need to bring Ireena to St. Andral's church to receive this XP.)

B4c. Morning in Vallaki

Exiting the Inn

When the players first exit the Blue Water Inn that morning, they can see that someone has posted several identical posters around the nearby road. Each poster reads, in elegant handwriting: "WANTED ALIVE TO FACE JUSTICE: Rudolph van Richten, outlander. Appears elderly, but is armed and dangerous." The posters appear to offer a reward for van Richten's capture, and list an address in the northwestern quarter of Vallaki. [[Note]]

(If the players ask Urwin or another Vallakian whether the Baron had the posters placed, they learn that the Baron's home is on the southwestern quarter, and that the handwriting doesn't match the Baron's preferred lettering for his posters.)

Shortly after the players move to depart the Blue Water Inn entirely, they are approached by Ernst Larnak, who has been lurking outside of the inn. Ernst greets the players and delivers an invitation to dine with Lady Fiona Wachter that evening, as described in Lady Wachter's Wish. [[Note]]

End of an Act. When the players set off from the Blue Water Inn for their first full day in Vallaki, Act I ends and Act II begins. [[Note]]

In this act, the players are left to explore the shadowed town of Vallaki—a Barovian settlement that has fallen to tension and conflict in the wake of Strahd's awakening.

As the players seek to complete lingering obligations—escorting Ireena to St. Andral's Church, purchasing and delivering a toy for the Vistani child Arabelle, and uncovering the Tome of Strahd—they meet new allies and enemies, including Father Lucian, the priest of St. Andral's Church; Izek Strazni, Baron Vallakovich's brutal enforcer; and Lady Fiona Wachter, the Baron's Strahd-loyalist rival.

At St. Andral's Church, the players will be tasked with recovering the stolen bones of St. Andral himself in order to protect the church's holy protection. At the nearby Vistani encampment, the players will have an opportunity to prove themselves heroes by finding and rescuing Arabelle following her mysterious disappearance. At Wachterhaus, the ancestral home of House Wachter, the players will be given a choice: slay Izek Strazni and allow Lady Wachter to seize power—or do nothing, and allow the Baron's mad reign to continue.

Meanwhile, one of the players begins to experience haunting apparitions, leading them to discover the tragic fate of Stella Wachter's soul—and an opportunity to restore her broken mind. Simultaneously, a nocturnal killer haunts Vallaki's streets, secretly working to drive the disguised vampire hunter Dr. Rudolph van Richten out of hiding.

Through it all, the players will have an opportunity to seek out clues leading to the hidden location of the Tome of Strahd, which—depending on the Tarokka reading they received—may be hidden in the Baron's mansion, in Wachterhaus, in Rictavio's carnival wagon, or in the nearby tower at Lake Baratok. And as the date of the Festival of the Blazing Sun approaches, Izek Strazni and Ireena Kolyana grow closer to a fateful, yet tragic encounter.

Act II ends when the players reach 5th level (see Milestones below). However, the players can still complete unresolved arcs from this act even after Act III begins—assuming, of course, that those arcs are still possible to complete. [Note]

Third Night After Arrival

No notable events occur.

Fourth Day After Arrival

• If the players have not restored the bones of St. Andral to St. Andral's church, its protective wards fail at dawn.

Fourth Night After Arrival

• Shortly after sundown, the parishioners of St. Andral's Church attend a service observing the holiday of St. Andral's Feast. If the protective wards around St. Andral's church have not been restored, Volenta Popofsky leads a vampiric attack on the church during the service, killing dozens of Vallakians and Baroness Lydia Petrovna. The altar boy, Yeska, is the only survivor, and is spirited away by Urwin Martikov to the Blue Water Inn.

Fifth Day After Arrival

• If the players did not prevent or defend St. Andral's Church from Volenta's attack, an angry mob forms outside of Baron Vallakovich's manor. Szoldar Szoldarovich finds Milivoj, the church groundskeeper, hanging from a tree outside of Vallaki's walls—dead by apparent suicide—and solemnly returns his body to his family.

Fifth Night After Arrival

• If the players did not prevent or defend St. Andral's Church from Volenta's attack, the angry mob assaults Baron Vallakovich's manor, capturing the Baron and lynching him in the town square. Victor Vallakovich escapes, taking shelter in the abandoned houses abutting Vallaki's western walls. If he still lives, Izek Strazni also escapes, taking shelter in Argynvostholt.

Arc D: St. Andral's Feast

In this arc, the players escort Ireena Kolyana to St. Andral's Church in Vallaki, fulfilling their vow to her brother, Ismark. However, Father Lucian, the church's priest, informs them that the bones of Saint Andral—the source of the church's protective magic—have recently been stolen, placing its wards and parishioners at risk.

The players have until their fourth night after arriving in Vallaki to identify the thief (the church groundskeeper, Milivoj) track down the bones to their hiding place (the Vallaki coffin maker's shop), and return them to their rightful place in the church. Their mission will bring them into direct conflict with Volenta Popofsky, Strahd's most sad*stic vampiric bride, and her vampiric minions.

Can the players defeat Volenta's plan and restore the church's protection? Or will the church be lost in darkness and blood, its flickering light snuffed out in the shadows?

D1a. Meeting Father Lucian

When the players first meet Father Lucian, he greets them warmly, recognizing them as newcomers to Vallaki, welcoming them to St. Andral's Church, and asking if they have come seeking fellowship or to pray to the Morninglord.

If informed that Ireena is seeking sanctuary in the church from Strahd or other monsters, Father Lucian first ensures that no other congregants are present—shooing away Yeska if present—and swears the players to secrecy.

If the players agree not to spread his words beyond the church, Father Lucian sorrowfully informs them that, while he would love nothing more than to extend Ireena an offer of permanent shelter, recent events have left the church's wards are in a precarious state. He can also share the following additional information at the players' prompting:

• The church is ordinarily hallowed ground, as though the building was protected by a hallow spell. This magical ward prevents fiends and undead from entering the church, and keeps them from magically charming, frightening, or possessing those within it.
• The source of this protection is the crypt of Saint Andral, which has historically held the blessed bones of Andral himself, the founder of Vallaki's church and a great cleric of the Morninglord.
• Originally, only Father Lucian knew that of the bones' existence. However, he recently shared the knowledge of the bones with Yeska, as described in Bones of St. Andral (p. 97).
• To retain the church's protection, Father Lucian must invoke a particular rite of protection over Saint Andral's bones once every year, at dawn on the morning of Saint Andral's Feast—a holy day that memorializes Andral's life.
• If the rite cannot be carried out at that time, the wards will fall until the rite is completed on a subsequent dawn.
• Last night, someone broke into the church's crypt and stole St. Andral's bones. Without them, Father Lucian can't complete the protective rite, and the wards will fall at dawn on the day of St. Andral's Feast.
• Father Lucian is fearful that some fell creature or wicked soul has manufactured this crisis as an opportunity to cause his congregation harm; though the Baron is confident that no monsters could breach Vallaki's walls, Father Lucian fears that the town is not as safe as it appears.

Father Lucian can also share the date of St. Andral's Feast (the fourth day after the players arrived in Vallaki). He has not reported the theft of the bones for the reasons described in Bones of St. Andral (p. 97).

Father Lucian does not know that Yeska has told anyone of the bones' existence, and firmly believes that the boy would not be capable—physically or otherwise—of stealing them. He does not suspect Milivoj of stealing the bones, either, having no reason to do so.

If the players express an interest in doing so, Father Lucian is glad to allow them to inspect the crime scene—having made neither heads nor tails of it himself—and to interview Yeska, so long as they promise to be patient and gentle with the boy.

If the players ask for the identities of other possible witnesses, Father Lucian suggests speaking with Milivoj, noting that it's entirely possible that Milivoj has seen shady characters lurking around the church.

Before allowing the players begin their investigation, Father Lucian asks them to promise him to retrieve him as soon as they learn of the bones' location. He takes personal responsibility for their disappearance, and—given his connections across the town—wishes to assist the players in recovering them if necessary.

D1b. The Scene of the Crime

Father Lucian is glad to lead the players to the location of the crypt if prompted. The players can inspect the replaced floorboards behind the altar for clues, and Father Lucian will also reluctantly allow them to pry up the floorboards again if they want to investigate the crypt itself.

The crypt is as described in Bones of St. Andral (p. 97), lying beneath the chapel's altar and concealed by the chapel floorboards. The interior of the crypt is a dark and damp chamber, its walls made of rough-hewn stone blocks that are stained with age and moisture. Its center contains a small stone slab, which held the bones until recently.

The players can find the following information by investigating the area around the crypt:

• While investigating the floorboards, the players can find a torn piece of gray wool fabric snagged on a nail with a successful DC 15 Intelligence (Investigation) check, and a line of rust-stained dirt smeared across the edge of a floorboard with a successful DC 20 Wisdom (Perception) check. (The fabric was torn from Milivoj's shirt as he lowered himself down, and the rust was left when he used his shovel to pry up the floorboards.)
• While investigating the interior of the crypt, the players can find several clumps of earth immediately below the pried-up floorboards with a successful DC 10 Wisdom (Perception) check. Each clump is in the shape of a large bootprint, and contains several blades of pale green grass and white flower petals. (The clumps were left when Milivoj's boots hit the floor of the crypt. Father Lucian can inform the players that the petals are from the ramson plant, which grow in several patches in the church graveyard.)
• While investigating the altar or the stone slab in the crypt, the players can find a few strands of dark black hair with a DC 15 Wisdom (Perception) check. (The hair is Milivoj's.)

D1c. Interviewing Witnesses

NPC Profile | Milivoj

Roleplaying Information

Resonance. Milivoj should make the players feel scornful (due to his gruff, cynical, and stubborn personality) sympathetic (due to his frustration at his parents' addiction to dream pastries), and endeared to him (due to his wholehearted dedication to provide for his siblings, no matter the cost to himself).

Emotions. Milivoj's most frequent emotions are annoyance, worry, frustration, bitterness, cynicism, and (when with his siblings) compassion and joy.

Motivations. Milivoj's actions are motivated by his desire to provide for himself and his siblings.

Inspirations. Consider taking inspiration for Milivoj from Katniss Everdeen (The Hunger Games), Arya Stark (Game of Thrones), and Carl Fredericksen (Up).

Character Information

Persona. To strangers, Milivoj appears as a quiet, gruff, and hardworking groundskeeper. To those he trusts, Milivoj appears to be a loving and dedicated sibling, a frustrated and bitter son, and a desperate and confused young man.

Morale. In a fight, Milivoj would brandish his shovel in an attempt to get his attacker to back down, but would quickly surrender if seriously wounded. (If defending his siblings, however, Milivoj would fiercely and gladly fight to the death.)

Relationships. Milivoj is employed by Father Lucian Petrovich, secretly works for the coffin maker Henrik van der Voort, and is eldest of nine children belonging to Oleg and Jarzinka, two dream pastry-addicted Vallakians.

Interviewing Milivoj

If the players choose to interview Milivoj, he denies any knowledge of the bones or their theft. A successful DC 10 Wisdom (Insight) check reveals that he appears to be surprised to be confronted, that his body language has grown tense, and that he is shifting uncomfortably.

If the players ask Milivoj whether he has seen any shady characters lurking around the church, he claims to have seen a cloaked figure watching the church two days ago from an alleyway. (The description of the cloaked figure coincidentally matches the appearance of Ernst Larnak, Fiona's spy, though Milivoj doesn't know Ernst or the nature of his employment.) A successful DC 10 Wisdom (Insight) check reveals that that he is speaking slightly too quickly.

If the players accuse Milivoj of stealing the bones and succeed on a DC 15 Charisma (Intimidation) check, Milivoj admits to stealing them, as described in Bones of St. Andral (p. 97). Players who confront Milivoj with evidence from the crypt or Yeska's confession automatically succeed on this check.

If asked his motive for stealing the bones, Milivoj shares the reasons described in Bones of St. Andral (p. 97). He can also share that, after his father—a former Vallakian guard—was wounded in a recent wolf attack, both of his parents began regularly purchasing dream pastries from the peddler Morgantha outside of the gates. With both parents addicted to Morgantha's wares, Milivoj sees himself as his siblings' sole means of avoiding total poverty. (If asked, Milivoj can provide a basic description of the effects of dream pastries, as described in Dream Pastries (p. 125).)

If informed that the bones may have been stolen to allow an attack upon the church, Milivoj dismisses the idea, insisting that the bones are just a "moldy old relic" and that "he doesn't have time to believe in fairy tales." (He certainly believes that Yeska and Henrik believe that the bones protect the church, but regards the whole thing as nonsense.)

Developments

If he is later informed that Henrik's actions were directed by one of Strahd's vampire spawn, and that the theft of the bones could have allowed a slaughter at the church, Milivoj is overcome with anxiety, horror, and guilt. He prostrates himself before Father Lucian and begs for his forgiveness, offering to exile himself to the Svalich Woods if doing so will make up for the harm he has caused. (Father Lucian, of course, declines, tearfully embracing and forgiving Milivoj instead.)

D1d. Recovering the Bones

Once Milivoj has admitted to the bones' theft, Father Lucian asks to join the players in recovering them from the coffin maker's shop. (He knows the owner, Henrik, well, and hopes that he can reason with the man.) If the players appear skeptical, Father Lucian—who has the statistics of a priest—promises them that he is more than capable of defending himself

If the players suggest reporting the theft of the bones to the burgomaster, Father Lucian is reluctant to do so, fearing the possibility of raising a panic. With a successful DC 15 Charisma (Persuasion) check, however, the players can convince Father Lucian to join them in reporting the theft to Baron Vallakovich, who responds as described in N6. Coffin Maker's Shop. (If the players don't have Father Lucian—Baron Vallakovich's brother-in-law—with them, the burgomaster refuses to believe that the bones are responsible for the church's divine protection or to assist the players in recovering them.)

D2. Coffin Maker's Shop

The coffin maker's shop is largely as described in N6. Coffin Maker's Shop (p. 116). However, the crates in N6f. Vampire Nest now contain only three vampire spawn, as well as Volenta Popofsky, one of Strahd's vampiric brides.

Henrik van der Voort, the coffin maker, follows the following schedule:

• In the morning, he sleeps in, remaining in bed in N6e. Henrik's Bedroom.
• In the late morning, he anxiously checks that the wardrobe containing St. Andral's bones hasn't been disturbed, and then prepares breakfast in N6d. Kitchen.
• In the afternoon, he builds coffins in N6c. Workshop.
• In the evening, he prepares an evening meal in N6d. Kitchen.
• At night, he sleeps in N6e. Henrik's Bedroom.

Volenta, First Form

Medium undead, chaotic evil

• Armor Class 15 (natural armor)
• Hit Points 82 (11d8 + 33)
• Speed 30 ft., climb 30 ft.

STR	DEX	CON	INT	WIS	CHA
16 (+3)	18 (+4)	16 (+3)	16 (+3)	14 (+2)	14 (+2)

• Saving Throws Dex +7, Wis +5
• Skills Perception +5, Stealth +10
• Damage Resistances necrotic; bludgeoning, piercing, and slashing from nonmagical attacks
• Senses darkvision 60 ft., passive Perception 15
• Languages Common
• Challenge 5 (1,800 XP)

Regeneration. Volenta regains 10 hit points at the start of her turn if she has at least 1 hit point and isn't in sunlight or running water. If Volenta takes radiant damage or damage from holy water, this trait doesn't function at the start of the vampire's next turn.

Spider Climb. Volenta can climb difficult surfaces, including upside down on ceilings, without needing to make an ability check.

Sunlight Hypersensitivity. While in sunlight, Volenta takes 20 radiant damage at the start of her turn, and she has disadvantage on attack rolls and ability checks.

Nimble Escape. Volenta can take the Disengage or Hide action as a bonus action on each of her turns.

Awakened Bloodlust. When Volenta drops to 0 hit points, her statistics are instantly replaced by the statistics of her second form. Her initiative count doesn't change.

Actions

Multiattack. Volenta uses hail of daggers twice, or uses hail of daggers once and either tanglefoot or thunderstone.

Hail of Daggers. Ranged Weapon Attack: +7 to hit, 15 ft., one target. Hit: 9 (2d4 + 4) piercing damage.

Tanglefoot (3/day). Volenta hurls a bag of writhing, sticky black tar at a point on the ground within 30 feet. The bag bursts on impact, covering the ground in a 5-foot radius with sticky tar. Any creature that enters the tar or starts its turn there must succeed on a DC 14 Strength saving throw or be restrained. On its turn, a creature can use an action to try to extricate itself, ending the effect and moving into the nearest unoccupied space of its choice with a successful DC 14 Strength check.

Thunderstone (3/day). Volenta hurls a crystalline shard at a creature, object, or surface within 30 feet. The shard shatters on impact with a blast of concussive energy. Each creature within 10 feet of the point of impact must succeed on a Constitution saving throw or be knocked prone, pushed 10 feet away from that point, and deafened until the end of your next turn.

Alchemist's Firebomb (1/day). Volenta hurls a flask of concentrated alchemist's fire and hurls it at a point within 30 feet. The vial shatters on impact, detonates in a 10-foot radius. Any creature in that area must succeed on a Dexterity saving throw or take 2d6 fire damage and be set ablaze. A creature set ablaze in this way takes 1d4 fire damage at the start of each of its turns. A creature can end this damage by using its action to make a DC 14 Dexterity check to extinguish the flames.

Father Lucian

In combat, Father Lucian directs the players to form a defensive line around the door, hoping to funnel the vampires one-by-one into a choke point in order to dispatch them individually. Father Lucian himself attempts to end his turns behind full cover on each round of combat, ducking out only briefly to target vampires with his offensive spells.

Father Lucian fights as follows:

• On his first turn, Father Lucian uses his action to cast spirit guardians, filling the air with a galaxy of swirling, fiery suns that burn with fierce golden light. (He stands as near to the front lines as possible while remaining behind full cover, seeking to ensure that any attacking vampire spawn will inevitably be drawn into range of his spell.)
• On his second turn, Father Lucian casts spiritual weapon, summoning and attacking with a golden ethereal mace whose head resembles a sunburst—a facsimile of the mace that his ancestor, Tasha Petrovna, once wielded in battle. He then casts sacred flame, targeting any vampire that is currently attacking the players.
• On his third and subsequent turns, Father Lucian uses his action to cast guiding bolt and his bonus action to attack with spiritual weapon once again.

If any of the players are reduced to 0 hit points, Father Lucian spends his action casting cure wounds on them, using a 2nd-level spell slot to do so. If his concentration is ever disrupted, he spends his action to renew spirit guardians instead.

Volenta, Second Form

Medium undead, chaotic evil

• Armor Class 15 (natural armor)
• Hit Points 82 (11d8 + 33)
• Speed 30 ft., climb 30 ft.

STR	DEX	CON	INT	WIS	CHA
16 (+3)	18 (+4)	16 (+3)	16 (+3)	14 (+2)	14 (+2)

• Saving Throws Dex +7, Wis +5
• Skills Perception +5, Stealth +10
• Damage Resistances necrotic; bludgeoning, piercing, and slashing from nonmagical attacks
• Senses darkvision 60 ft., passive Perception 15
• Languages Common
• Challenge 6 (2,300 XP)

Regeneration. Volenta regains 10 hit points at the start of her turn if she has at least 1 hit point and isn't in sunlight or running water. If Volenta takes radiant damage or damage from holy water, this trait doesn't function at the start of the vampire's next turn.

Spider Climb. Volenta can climb difficult surfaces, including upside down on ceilings, without needing to make an ability check.

Sunlight Hypersensitivity. While in sunlight, Volenta takes 20 radiant damage at the start of her turn, and she has disadvantage on attack rolls and ability checks.

Aggressive. As a bonus action, Volenta can move up to her speed toward a hostile creature she can see.

Blood Frenzy. Volenta has advantage on melee attack rolls against any creature that doesn't have all its hit points.

Actions

Multiattack. Volenta makes two attacks, only one of which can be a bite attack.

Bite. Melee Weapon Attack: +6 to hit, reach 5 ft., one willing creature, or a creature that is grappled by Volenta, incapacitated, or restrained. Hit: 6 (1d6 + 3) piercing damage plus 7 (2d6) necrotic damage. The target's hit point maximum is reduced by an amount equal to the necrotic damage taken, and Volenta regains hit points equal to that amount. The reduction lasts until the target finishes a long rest. The target dies if this effect reduces its hit point maximum to 0.

Claws. Melee Weapon Attack: +6 to hit, reach 5 ft., one creature. Hit: 8 (2d4 + 3) slashing damage. Instead of dealing damage, Volenta can grapple the target (escape DC 13).

Volenta

Volenta begins combat in her first form, preferring to start the fight by lobbing her alchemist's firebomb. Afterward, she alternates between using her multiattack to use tanglefoot and thunderstone. (The first time that Volenta uses one of her thunderstones, the third vampire spawn uses its readied action to break through the glass of the window nearest the players, joining the fray on its next turn.)

When using her hail of daggers, Volenta prefers to target Father Lucian first, followed by any clerics or paladins, and then finally any concentrating spellcasters. She taunts Father Lucian gleefully, noting, "I'd intended to rip out your throat in front of your cute little congregation, but I guess decorating the church steps with your head and entrails isn't a bad second place!"

Volenta flees from combat, smashing through a nearby window and galloping across the rooftops like a four-legged beast, if either of the following happens:

• all of her vampire spawn are defeated and her first form is reduced to 0 hit points; or
• her second form is reduced to 50 hit points or fewer.

In either case, she sneers at the players before departing, baring her fangs and promising to see them again soon.

The Vampire Spawn

The three vampire spawn prefer to fight by using their claws to grapple enemies, who they then drag away to feast upon in private. (The vampire spawn on the rooftop pulls grappled prey out of the windows and then hauls them back up to the roof for feeding.)

All three spawn are prepared to fight to the death, but retreat with Volenta if she does.

Arc E: The Missing Vistana

In this arc, at the request of the Vistana Eliza at Tser Pool Encampment, the players visit Blinsky Toys, the home of Vallaki's resident toymaker, to purchase a nameday gift for her niece, Arabelle. There, the players learn new information about the traveling ringmaster, Rictavio and the Baron's brutish enforcer, Izek Strazni.

After obtaining a toy for Arabelle, the players visit the Vistani encampment located a short distance away from Vallaki's walls. There, they can meet Barovia's dusk elves—a camp of refugees from Strahd's long-forgotten conquests—and their leader, Kasimir.

Upon entering the Vistani camp itself, the players also meet Arrigal and Luvash, two brothers who lead the camp while secretly serving Strahd. The players can learn that Arabelle has recently vanished—and that her disappearance appears to be linked to sightings of a giant, gray-feathered eagle—seemingly, the same eagle recently seen by the Vallakian fisherman Bluto Krogarov.

If the players investigate Arabelle's disappearance, Arrigal—Arabelle's uncle—joins them to assist in the search. As the party's efforts lead them toward the north shore of Lake Zarovich, they encounter a trio of werewolves, a silent raven sentinel, and the hut of the green hag Jeny Greenteeth.

Upon their arrival at the giant eagle's destination just north of Lake Zarovich, the party finds a mysterious portal that leads to the lair of the mysterious archmage Firan Zal'honan, who has kidnapped Arabelle in order to bring about the utterance of a cryptic prophecy that foretells the fall of the mists.

However, the party's arrival triggers Arabelle's foretelling—and the explosive nature of her unbound foresight damages Firan's demiplanar laboratory, wreaking havoc and freeing several of his dangerous test subjects. The players and Firan must rescue Arabelle from her trance, avoid a storm of crackling arcane energies, and fight their way free before the portal collapses upon itself.

The Dusk Elf Hovels

The dusk elf hovels are as described in N9b. Dusk Elf Hovels (p. 121). The dusk elves themselves are as described in Roleplaying the Vistani and the Elves (p. 119). If the players approach one of the guards and inquire about the dusk elves' history, Barovian history, or Barovian geography, the guard directs them to Kasimir's hovel as described in N9b. Dusk Elf Hovels (p. 121).

Kasimir's Hovel

Kasimir's hovel is as described in N9a. Kasimir's Hovel. If the players appear friendly and curious, Kasimir welcomes them into his home and prepares a pot of herbal tea over his crackling hearth. Kasimir notes that he doesn't often entertain guests, but is glad to assist the players as he can.

Kasimir is largely as described in Kasimir Velikov (p. 232), with changes made according to the revised history above.

If asked, Kasimir can relay the tragic history of the dusk elves—from the time of Rahadin's exile to the arrival of the mists. Kasimir speaks mournfully of Prince Erevan's pride, folly, and death; and spitefully of Rahadin, a traitor to his people.

If the players ask about the Amber Temple, Kasimir can relay the following information:

• The Amber Temple is an ancient structure built into the upper slopes of Mount Ghakis, Barovia's southern snow-capped peak.
• While Kasimir has not seen it himself, its walls are rumored to be sheathed in crystalline amber, and its doors guarded by mighty amber statues.
• It is said that the Temple holds a wealth of ancient knowledge—including, allegedly, the secret behind the dark pact that Strahd forged to obtain immortality.

Kasimir is cautiously delighted by the players' interest in the temple, and freely shares that he is hoping to journey to it in order to uncover the secret to resurrecting the ancient dead. In explanation, he relays an edited narrative of Patrina's death, claiming that Strahd "hypnotized" her, that the dusk elves "released" her from his bondage, that Strahd sent Rahadin to butcher Patrina and the other dusk elf women in retaliation, and that Patrina's spirit—having learned of the Amber Temple from within Castle Ravenloft's catacombs—has appeared in Kasimir's dreams to plead for his aid.

Under no circ*mstances does Kasimir reveal his own role in Patrina's death, Patrina's dalliances with dark magic, or the true nature of her relationship with Strahd before she died.

If the players appear interested in exploring the Amber Temple, Kasimir warns them that he will need to secure sufficient cold-weather clothing to protect them from the elements during the journey. (Due to his ring of warmth, Kasimir has no need of such protective gear himself.) Kasimir's timetable for doing so is as follows:

• If the players are fourth or fifth level, Kasimir informs them that he will need two weeks to have cold-weather gear commissioned and assembled from a Vallakian seamstress.
• If the players are sixth or seventh level, Kasimir requires only one week instead.
• If the players are eighth level or above, Kasimir promises to purchase cold-weather gear directly from a Vallakian merchant the following day.

Accepting Kasimir's invitation to journey to the Amber Temple begins Arc U: The Amber Temple.

E2b. The Vistani Encampment

NPC Profile: Firan Zal'honen

Note. For more information about Firan Zal'honen, see p. 181 in Van Richten's Guide to Ravenloft.

Roleplaying Information

Entering the Vistani Camp

The Vistani are largely as described in Roleplaying the Vistani and the Elves (p. 119), with the encampment largely as described in N9c. Vistani Tent, N9d. Horses, N9e. Luvash's Wagon, N9f. Wagon of Sleeping Vistani, N9g. Wagon of Gambling Vistani, N9h. Vistani Family Wagon, and N9i. Vistani Treasure Wagon (pp. 121-23).

When the players first enter the tent, modify the descriptive text as follows:

If the players do not respond first, Luvash hails them warily and—leaning back on his crutch to conceal any weakness—asks them their business. If the players share that they have come to deliver Eliza's gift, Luvash tells them that Arabelle—his daughter—has recently gone missing.

Luvash can share the following information with the players:

• Alexei (the young man) was responsible for watching over Arabelle while Luvash worked. However, Alexei decided to get drunk instead—and when when he returned to the clearing in the Svalich Woods where he had left her, Arabelle had vanished.
• In an effort to find Arabelle, Luvash and Arrigal dispatched the Vistani and dusk elves to search the area. Luvash led the search, but was wounded by a concealed wolf trap, forcing him to return to the encampment.
• Before her disappearance, Arabelle had experienced a recurring nightmare in which she found herself flying above a vast, dark mirror, and held captive by a twisted shadow. Luvash had earlier dismissed her dreams as meaningless, but now wonders if Arabelle possesses the Sight of a Vistana seer and foresaw her own disappearance.

If the players express an interest in rescuing Arabelle, Luvash is surprised, but grateful, and offers them their choice of a reward from the Vistani treasure wagon should they succeed. If the players accept the mission, Arrigal insists on joining them in the search for his niece, accompanying the party for the duration of their investigation.

If asked, Arrigal can show the players

E3. The Journey North

• If the PCs are unsure where to go, soon after they leave the Vistani camp, they are approached by a wereraven in raven form, who settles down to watch them. If the PCs ask the raven for help in finding Arabelle, it guides them to the southern shore of Lake Zarovich, where they find a child-sized, colorful scarf in the mud on the shore.
• There are no boats on the shore of Lake Zarovich (Bluto takes his home with him, for fear of werewolves or others taking it), but Arrigal can tell the PCs about an old boathouse in the woods to the east of Vallaki that should still have some functioning rowboats in it. He warns the PCs that the northeastern waters of Lake Zarovich are rumored to be infested with undead. (Bluto can warn the PCs of this as well, and will not willingly go in that direction if asked.)

If the players resolve to travel aross Lake Zarovich by boat, Arrigal can tell them about an old boathouse in the woods to the east of Vallaki, which he believes should still have one or more functioning rowboats still inside of it. (Unlike in the original module, no rowboats can be found on the shore of Lake Zarovich. Bluto himself takes his home with him each night, fearing that werewolves or other nefarious creatures might damage or steal it.)

If the players attempt to locate Bluto Krogarov to request transportation across the lake, Urwin can provide basic directions to Bluto's home: a small shack in the northern section of Vallaki. However, Bluto is reluctant to provide transportation directly, or even to lend the players his boat, warning the players that the northeastern waters of Lake Zarovich are rumored to be infested with undead.

E4. Firan's Laboratory

E5. Return to the Vistani Camp

what is arabelle's prophecy? instructions for how to read the tome of strahd to see the schematics for the Fanes and the HoS.

• what happens if they take a boat? they could ask bluto for his i guess. i think bluto takes his boat back with him to avoid werewolf issues, y'know.
• urwin/danika can point the pcs toward the dusk elves for questions about Old sh*t like the Amber Temple

what do I WANT. old boathouse setpiece - arrigal suggests it. great place for werewolves. in fact, CANT walk - too craggy along the eastern side. don't want to go all the way around. where do i put jeny's hut? i can put it before the boathouse o.o. so we go ravens' roost > wolf trap > jeny's hut > boat house with werewolves > zombies in lake attacking boat > the portal with firan's lab

why didn't bluto investigate! the dead swim in the eastern waters.

Arc F: Fiona Wachter's Wish

Arc G: The Tome of Strahd

Arc H: The Moonlit Murders

Arc I: The Lost Soul

Arc J: The Strazni Siblings

Arc E: St. Andral's Feast

Arc F: The Tome of Strahd

Arc G: The Missing Vistana

Arc H: Fiona Wachter's Wish

Arc I: The Strazni Siblings

Arc J: The Baron's Wrath

The Countdown

While the original Death House dungeon is fairly atmospheric, it also lacks a strong, consistent dramatic question. When the players first enter the house, the dramatic question is, “Can the players find and kill the monster in the basem*nt before it kills the Dursts?” However, when the players first climb to the house’s decrepit third floor, the original dramatic question is revealed to be a farce. Players who attempt to leave through the mist might learn that they’ve become trapped in the house, but will never receive a clear dramatic question—consisting of a clear goal, stakes, and direction—for the remainder of the dungeon. As a result, the original Death House experience is a directionless dungeon crawl, giving the players little guidance other than to explore and interact with its rooms until something interesting happens.

This revision aims to improve upon that by removing the fake dramatic question as soon as the players all enter the house. From here, Death House itself then conveys a clear dramatic question that will last through the end of the dungeon: “When the players are trapped in Death House, can they find the monster’s room beneath the house and either appease it or slay it in order to escape before it awakens and comes to kill them?” [Return]

Death House Spirits

This revision adds a number of ethereal encounters throughout Death House. These spirits and disembodied voices are meant to introduce the players to the major characters and narratives that permeate the dungeon. [Return]

The Trajectory of Fear

Several encounters throughout this revision aim to guide the players through “the trajectory of fear,” raising and then defusing tension in order to increase the salience of the house’s later horrific encounters. [Return]

Death House Hauntings

This revision adds a number of classic “hauntings”—spooky events with no apparent connection to the house’s main storyline. These hauntings reflect Death House’s attempts to torment the players before their deaths. Like Strahd, the ghosts of the cult prefer to break their prey before devouring them. [Return]

The Feast

Every encounter teaches players something about the world that they’ve playing in. While a previous version of this guide included a feast in Death House’s dining room that, if eaten, poisoned the players, this version aims to teach players that invitations to dine—unlike the infamous Red Wedding in Game of Thrones—can generally be trusted. As a result, the players are more likely to trust Strahd’s invitation to dinner at Castle Ravenloft when it eventually arrives. [Return]

Hints to the Secret Room

The secret room on the second floor of Death House gives the players critical information about the cult and its sordid history. Without it, the players may not even understand why the Dursts have a sacrificial altar beneath their home. As such, this revision adds a number of small hints to improve the players’ likelihood of finding the hidden door. [Return]

Mundane Items

This revision adds a number of mundane items scattered throughout Death House to hint at the cult’s activities and tragic history. [Return]

Lancelot

Lancelot, the dog trapped in Death House, has been a staple of many Curse of Strahd campaigns since he was first proposed in Lessons From Running Curse of Strahd, a predecessor to this guide, and expanded in /u/MandyMod’s Fleshing Out Curse of Strahd. His role in this dungeon is threefold. First, he gives the players a sense of familiarity and comfort in an uncomfortable place, slightly defusing the tension. Second, he provides the players with an alternate possible sacrifice in the Ritual Chamber, presenting a clear moral dilemma without requiring the playgroup to put a player character’s life at risk. Third, he provides an emotional attachment to the players, inspiring them to engage with and invest in the world of the campaign.

In a prior version of this guide, Lancelot had previously belonged to Gertruda, a prisoner of Strahd. This connection has been intentionally removed for three reasons. First, because this version of Death House is no longer located in or near the village of Barovia, it is difficult to understand how and why Lancelot would have found his way there. Second, because Gertruda and Mad Mary play a more pronounced rule in the early narrative of this revision, it would be difficult to justify the players' retention of Lancelot without making them feel guilty for adopting a living person's beloved pet. Third, while Lancelot's name is now iconic among the Curse of Strahd community, its Anglo-Saxon origins make for a poor fit with Barovia's Eastern European naming conventions. [Return]

The Animated Armor

Rather than using its slam attack, this suit of animated armor intentionally uses its multiattack to attempt to shove the players over the railing or grapple them. This introduces the players to the grapple-heavy tactics favored by vampire spawn and foreshadows the battlefield of the final battle: the Heart of Sorrow, a heavily vertical environment. [Return]

Elisabeth’s Amulet

It’s not uncommon for players to complain that Curse of Strahd is bereft of magic items. To that end, this revision aims to increase the density of magic items that the players can find—without providing magic items powerful enough to compete with the Holy Symbol of Ravenkind or the Sunsword. In this case, the dark shard amulet also hints to the players Elisabeth Durst’s true identity: a warlock whose patron dwells in the Shadowfell. [Return]

The Broom

While the broom of animated attack presents a comedic encounter that breaks up the tension, it’s likely to overstay its welcome (and overtax the players’ resources) in a full combat encounter. As such, this revision limits the broom’s hostility to a one-off “jumpscare” gag that is easily avoided once known. [Return]

The Nursemaid

In both the original module and this revision, the nursemaid’s spirit has no reason to attack the players. Instead, as a victim of the cult, the nursemaid’s spirit would appear to have every reason to assist the players—especially if, in doing so, she can help put Rose and Thorn’s souls to rest. [Return]

The Door Behind the Mirror

It’s almost necessary for the players to find the hidden staircase to the attic in order to progress in the dungeon—and, with the balcony doors and windows bricked up in this revision, actively required. However, the original module provides the players with nearly no clues as to the existence of such a passage, or of a means to find it. This revision aims to accomplish both goals, drawing the players’ attention with an eye-catching encounter and providing them with a sympathetic character who is happy to show them the way forward. [Return]

Rose and Thorn

This revision includes a small number of additions to the characters of Rose and Thorn to make them feel more like “real” children, with an aim of encouraging the players to sympathize with them. [Return]

The Dollhouse

In addition to being a creepy aesthetic piece, the dolls within the dollhouse signal to the players that Death House knows their location at all times—thereby making it impossible to hide once the monster awakens. This has the additional benefit of foreshadowing the breadth of Strahd's spy network upon the players' entrance to Barovia. [Return]

The Possession

In the original module, Rose and Thorn’s attempted possession of the players comes as an almost-hostile act. By having the children’s ghosts actively ask for permission to possess the players—and by making the experience of possession less intrusive and alien—this revision aims to encourage the players to be more accommodating of the children’s wishes. In addition, by granting the players the ability to use certain cantrips while the possession lasts, Rose and Thorn train the players to expect and seek out meaningful—if not actively useful—assistance from other friendly characters they meet in the future. [Return]

Monstrous Foreshadowing

Several encounters in this dungeon are now foreshadowed by the presence of disturbing details in their immediate vicinity. This raises the tension as discussed in the Marks of Horror (p. 9), and also teaches the players to tread carefully when facing similarly gruesome environments in the future. [[Return]]

Ghoulish Encounter

In the original module, this encounter can be exceptionally dangerous. Moreover, because this guide prevents the players from taking a long rest before battling the flesh mound at the end of the dungeon, it’s important to ensure that this encounter does not drain the players’ resources too severely. As such, this revision ensures that the players will need to only fight one ghoul at a time, and gives the players an additional round before combat fully begins to allow the players to reposition if necessary. [[Return]]

The Shadows Attack

Due to its strength drain ability, an ostensibly CR ½ shadow can punch far above its weight at every player level. This problem is greatly exacerbated when facing a horde of multiple shadows, who can easily kill most creatures simply by focusing their attacks on a shared target. As such, this encounter gives the players ample time to return the orb or prepare for battle before the shadows attack, and works to ensure that no single player is ever targeted by more than one shadow at a time. Additionally, this encounter teaches the players that, unlike a traditional dungeon-crawling module, wanton investigations into “interesting” landmarks tend to carry a high amount of risk and a low chance of payoff. [Return]

Cult Leaders’ Den

As the true villain of Death House in this revision, it would be inappropriate for the players to confront Elisabeth Durst before the dungeon finale. As such, her ghast has been removed from his room. To match his revised role in the story, Gustav Durst has been changed from a ghast to a boneless. [[Return]]

The Portcullis Wheel

The intent of this revision is to make it easier to enter the Ritual Chamber than to leave it. This is meant to push the players to confront the flesh mound if it awakens, rather than fleeing. (The broken mechanism also provides an opportunity to highlight the utility of gaining the assistance of friendly Barovians in the future.) [[Return]]

Beginning the Final Fight

The intent of this revision is to ensure that the entirety of the climax of the Death House dungeon—from the moment the players first understand the choice they must make at the altar—is a fast-paced, high-octane action scene that lets up only once the players have successfully escaped from Death House altogether. [Return]

Fighting the Flesh Mound

Unlike the original module, flight from the mound—the most powerful enemy in the dungeon—is not meant to be a viable option for the players. However, due to the danger of “death spirals”—combat encounters in which a powerful monster is capable of knocking a player unconscious with a single hit, thereby reducing the players’ ability to defeat it over time—solo boss encounters are risky propositions in D&D. (The ordinary alternative to a death spiral is a combat encounter with a non-powerful boss monster, which a group of multiple players is usually able to defeat without much difficulty.)

Escape From Death House

In the original module, it can be unclear to the players when it becomes possible to exit Death House. Moreover, while many parties may choose to flee from the shambling mound in the original dungeon, many others choose to remain to fight it—and even occasionally win, thereby removing all tension when attempting to leave the house. As such, this revision aims to clearly signal to the players when their imprisonment has ended and to provide them with a clear direction and sense of momentum as they escape. [[Return]]

The Skill Challenge

This skill challenge is not meant to present a serious threat of player character death. Instead, it aims to present a tense sequence of “falling action” following the climactic confrontation with Walter and the flesh mound. If a player character does die, either here or in battle against Walter, that player can introduce a replacement in the village of Barovia as a guest of Ismark and Ireena’s who was recently spirited away by the module’s Creeping Fog hook. [Return]

Arc B: Welcome to Barovia

Moving Morgantha

Given his role as the late burgomaster's son and heir, it is difficult to imagine that Ismark would be ignorant of Morgantha's activities. Though Ismark is meant to be a sympethatic NPC, allowing a known narcotics dealer and child-stealer to operate under his nose would be a heavy black mark against him, potentially causing the players to mistrust or dislike him and Ireena.

Moreover, an encounter with Morgantha in the village of Barovia may push the players to confront the full night hag coven—an exceedingly deadly foe—before they've even reached the town of Vallaki, risking a TPK.

Additionally, as a practical matter, due to the path that the players are likely to take through the village, the players are likely to encounter Morgantha without Ismark present on only two occasions: immediately after entering the town, or while traveling to and from Bildrath's Mercantile. An early encounter with Morgantha risks tainting the village's role as a refuge from the horrors of Death House, while a later encounter—because Bildrath's Mercantile is an optional and unhelpful location—may never happen at all.

Finally, Morgantha's relocation to the Barovian refugee camp serves four additional narrative goals:

• It connects the night hag coven to Vallaki, allowing the players to steal and use a night hag's heartstone in order to restore Stella Wachter's soul.

Ismark the Great

The character of "Ismark the Great" has been added to provide an explicit rationale for Ismark's epithet, "the Lesser," deepening Ismark's characterization. The engraving on the statue also reminds the players of the existence of the "burgomaster" title and explicitly notifies them that vampires will play a core role in the campaign to come. [[Return]]

Change of Ownership

Given the Barovians' mistrust of the Vistani—and the intrinsic wanderlust of the Vistani people—it makes little sense for a trio of Vistani to own a Barovian tavern. As such, ownership of the tavern has been shifted to Arik.

However, this guide retains the Vistani here to establish their existence before the players first encounter Madam Eva, and to foreshadow the presence of the nearby encampment at Tser Pool. [[Return]]

The Devil's Name

This "taboo" on Strahd's name provides the players with a brief role-playing prompt, encouraging a debate over the wisdom of speaking it aloud. In addition to foreshadowing Strahd's ability to cast scrying and raising his profile as a near-omnipresent tyrant, this topic also provides a clean segue into a discussion of Strahd's spies, a critical part of the remainder of the campaign. [[Return]]

To St. Andral's Church

While Ismark is unaware of St. Andral's Church in the original module, it seems reasonable that the Barovian settlements would be at least somewhat better-connected given Strahd's recent period of hibernation.

Ismark's desire to bring Ireena there provides the players with a clear hook to the church. Not only does this give them a clear destination once they arrive in Vallaki, it also gives them a fair chance to prevent the vampiric attack on the church. [[Return]]

Ismark and Lugdana

The history of Ismark the Great is based upon the tale of the paladin Lugdana, as described in Holy Symbol of Ravenkind (p. 222). This tale both foreshadows the presence of Strahd's many vampiric spawn and introduces the holy symbol of Ravenkind, which will take on great importance later on. [[Return]]

Ireena's Parentage

It's unclear in the original module whether Ismark knows that Ireena is adopted or not. (Ireena herself seems not to, but Father Donavich does, and Ismark's introduction mentions his "adopted sister, Ireena.")

However, given that Ireena was at least a toddler when she was separated from her birth parents, it's very likely that Ismark was at least five or six years old when Kolyan adopted her, giving him a clear memory of the situation.

Even so, to preserve the surprise of Izek's relationship to her—and to explain why, in the time before Strahd reawoke, Ireena never sought out her birth parents in any of the other settlements—she and the players have been kept purposefully ignorant of her parentage in this guide. [[Return]]

Ismark's Request

The players' first encounter with Ismarkhas been intentionally scaffolded in order to ensure three things:

• Because the players have no reason to remain in the village of Barovia long-term and every reason to travel toward Vallaki, Ireena's escort mission poses no more than a minimal imposition.
• Because Ismark freely provides information, room, and board to the players before asking them to accept Ireena's escort mission, the players will feel endeared to him—rather than resentful or socially alienated—and therefore feel socially obliged to accept Ismark's request.
• Because Ismark does not offer any compensation for Ireena's escort mission, the players are primed to view it as a social obligation rather than a transactional one, priming them to befriend Ireena as they journey together. [[Return]]

Ireena's Scarf

This small detail has been included to deepen Ireena's characterization, add additional depth to her adoptive family, and slightly heighten the drama surrounding her relationship with Strahd. [[Return]]

The Argument

This short optional "cutscene" has been added to make Ireena more sympathetic to the players. As an additional benefit, it introduces a richer internal conflict to her character, establishing a stronger long-term arc as she struggles to find a balance between self-protection and advocacy for her people. [[Return]]

Gertruda's Argument

The original module presents Gertruda in an unrealistic and somewhat distasteful way. Additionally, within this guide's timeline, it is difficult to believe that Mary would have imprisoned her daughter during the period of time that Strahd was hibernating.

As such, Gertruda's character has been changed to be more active and tasteful—while she is still naive, it is still easier to believe that an "aspiring diplomat" would have attempted to entreat a vampire lord than that a "sheltered girl" would view said vampire lord's castle as a "fairy-tale." Rather than her maddening immaturity, Gertruda is now defined by her tragically false belief that Curse of Strahd is a more modern type of vampire story—one in which Strahd is ultimately driven by reason, rather than cruelty. [[Return]]

Madam Eva's Invitation

While it is difficult to believe that a group of 1st-level characters would willingly enter Barovia in order to slay a vampire lord at Madam Eva's invitation, it is much easier to believe that such a group would accept Madam Eva's invitation as a lifeline in a strange and dangerous land.

This invitation has been placed nearly immediately after the players' introduction to Ismark, therefore, to ensure that they are acutely aware of the following information:

• That Barovia is ruled by the vampire lord Strahd von Zarovich, who is a cruel and capricious tyrant;
• That Strahd wickedly pursues the residents of his lands without care for their humanity or dignity;
• That Strahd and his minions are far too powerful for any group of Barovians to depose on their own; and
• Most importantly, that outsiders are trapped in Barovia forever.

This invitation—and the Tarokka reading itself—have been further designed to ensure that the players are further aware of three things:

• Strahd is an active and inevitable threat to the players.
• The players cannot defeat Strahd without Madam Eva's guidance.
• If the players defeat Strahd, they will save Barovia itself; if the players fall to Strahd, Barovia may be doomed.

By providing this information, this guide aims to ensure that the players have a clear and active motivation to seek Strahd's destruction, and to emphasize the importance of the Tarokka reading in doing so. [[Return]]

Aftermath of the Dream

This brief scene immediately following Madam Eva's invitation has been designed to achieve the following goals:

• to allow the players an immediate opportunity to corroborate and discuss their shared experience, thereby emphasizing its importance;
• to provide the players with an opportunity to observe the March of the Dead, which is generally infeasible in the original module;
• to set up the lore of the March of the Dead as a means of emphasizing the inevitable fate of all of Strahd's victims; and
• to contrast Madam Eva's proffered lifeline with the ever-present claustrophobia created by Strahd and his spies. [[Return]]

Bildrath's Mercantile

It is difficult to believe that the players would be able to afford any adventuring gear at a cost of "ten times the price." Moreover, numerous reports suggest that Bildrath's outrageous prices in the original module—when combined with Parriwimple's protection—tend to actively encourage players to steal, fight, and murder at a time when they can least afford to do so.

As such, Bildrath's prices have been preemptively lowered in order to ensure that the players can purchase at least some amount of goods and to lessen the probability of lawbreaking and escalation. [[Return]]

Donavich's Suicide

This evocative detail has been incorporated as a method of reminding crusading players that not all monsters must be fought and that their choices can have pronounced impacts upon the NPCs that they encounter. [[Return]]

Donavich's Advice

The Barovian superstition regarding women with red hair has been intentionally incorporated in order to foreshadow the nature of Ireena's relationship with Strahd and to provide an additional reason for the Barovian refugees outside of Vallaki to dislike or mistrust her.

It is true that Donavich's suggestion of the Abbey of Saint Markovia may seem an odd one if, as in this guide's revised history, the Old Svalich Road was relatively safe while Strahd slumbered. After all, safer roads likely mean more frequent travel between the Barovian settlements as well.

However, the fact remains that Krezk is relatively distant from the village of Barovia—taking just over a full day's travel to reach—and that most Barovians, as feudal peasants, would have no reason to travel from settlement to settlement. As a village priest, Father Donavich would have had even less reason to do so.

Moreover, given that a burgomaster's first duty is to his own village—and the fact that, as a small, "mist-locked" county with no need for national defense or trade routes, the burgomasters themselves would have little reason to ever visit their neighbors—it is unlikely that Ismark, Ireena, or their recent forebears would have had any reason to visit Krezk themselves.

Even if any merchants had traveled from Krezk to Barovia within the past several decades, it is unlikely that they would have brought news involving the Abbot, given that he first arrived at the Abbey more than a century ago and—until recently—has largely kept to himself. [[Return]]

Arc C: Into the Valley

Strahd's Concessions

It is important that Strahd offer Ireena no promise of safety beyond her arrival in Vallaki's gates. This accomplishes three goals:

• It preserves the tension in Ireena's storyline.
• It ensures that the players are motivated to visit St. Andral's Church (and so receive its quest hook).
• It avoids breaking the players' immersion by suggesting that Strahd has suddenly become disinterested in Ireena's fate. [[Return]]

Misbehaving Players

It is common practice for many DMs—especially new DMs—to seek out ways to "punish" player characters who have disrespected Strahd (e.g., by attacking them, killing their familiars, or even—in one particularly brutal case—tearing out their tongues).

However, in the immortal words of Tywin Lannister, "any man who must say, 'I am the king' is no true king." Strahd's reputation and stature as a villain are founded upon two core traits: his ability to achieve his goals through mere intimidation, and his ability to remain calm, collected, and in control of the situation at all times. Directing Strahd to "punish" a player critically undercuts these traits.

In the first case, if Strahd can be easily rattled by perceived insults—even to the point of violence—he becomes less intimidating altogether. A violent response undermines the very foundation of his reputation, reducing him from a symbol of fear to a petulant and easily provoked bully.

In the second case, if Strahd is easily angered and quick to lash out against challenges or insults, he appears less intelligent, less powerful, and—most critically—less worthy of respect.

Always remember: Strahd has ruled Barovia since long before the player characters were born, and expects to continue to do so long after they die. He is a man entirely confident in his own power and authority, and views all other beings as insects beneath him. To quote Tywin Lannister once again, "a lion doesn't concern itself with the opinion of sheep"—and neither does Strahd. [[Return]]

The Hanged One

While Strahd may not concern himself with the players' insolent behavior, the Hanged One's identity is a quiet (albeit, secretly toothless) warning to those players to avoid outright confrontation with Strahd in the future. [[Return]]

Muriel's Flight

As mentioned previously, this guide repurposes the character of Muriel Vinshaw to serve as a more active introduction to the Keepers of the Feather for the players, as well as a familiar contact within the organization.

While the players have previously encounter Muriel in her raven form in the village of Barovia, this encounter further indicates to the players that: ravens are enemies of the monsters of Barovia, that ravens require the players' assistance in defeating those monsters, and that this particular raven has a strange interest in the PCs (or, at least, the places they frequent),

This encounter has been intentionally placed in space and time to ensure that:

• Muriel had adequate time to overhear Strahd's Tarokka reading from Madam Eva before encountering the strix, and
• The strix had inadequate time to capture Muriel after being dispatched to do so.

Additionally, due to its proximity to the players' introductory encounter with Strahd, this (relatively easy) combat encounter with the strix should serve to restore the players' confidence and sense of security after a tense and intimidating experience. (Without these reassurances, the players may feel distracted, mistrustful, or even resentful of Madam Eva upon their arrival in Tser Pool.)

This encounter with Muriel is the first chapter of a longer sub-plot of the campaign. Should the players rescue Muriel and "escort" her to Vallaki, the following series of events may occur:

• When the players are attacked by a werewolf and its pack on the Old Svalich Road, Muriel leads a swarm of ravens in assisting in their defense. (See Arc C: Into the Valley.)
• When the players arrive at the Blue Water Inn, Muriel (in raven form) flies up to the roof to join the other ravens. (See Arc C: Into the Valley.)
• When the players receive Urwin's request to investigate the missing shipments of wine, they are also asked to escort Muriel (in human form) to the Wizard of Wines in order to deliver a "package" (i.e., her knowledge of Strahd's Tarokka reading) to Davian Martikov. (See Arc _: The Missing Gem.)
• As the players travel with Muriel toward the Wizard of Wines, they may notice that she appears immune to the damage dealt by monsters' attacks—an allegation that she attempts to deny. (See Arc _: The Missing Gem.)

The Strix

In the original module, it is unclear why wereravens—who are immune to all bludgeoning, piercing, and slashing damage from nonmagical, non-silvered weapons—would be unable to resist attacks by Baba Lysaga's scarecrows (who deal nonmagical slashing damage), the druids' blights (who deal nonmagical piercing and bludgeoning damage), and Wintersplinter itself (who deals nonmagical bludgeoning and piercing damage).

While past editions of this guide have attempted to justify this through the use of nonmagical environmental damage (e.g., suffocation), it is difficult to understand how such dangers could pose such a threat in an area without easy access to large bodies of water, especially when wereravens are more than capable of escaping through the air.

As such, this guide offers the strix—a small, yet powerful hostile "air force" that counters both the wereravens' access to flight and their damage immunities. By doing so, the strix accomplish two significant goals:

• They limit the wereravens' ability to serve as front-line fighters for the players, thereby relegating the Keepers of the Feather to their proper place in the campaign's narrative: as spies and scouts.
• They limit the wereravens' ability to travel from settlement to settlement, making Barovia feel slightly larger and encouraging the players to defeat Baba Lysaga. [[Return]]

Strahd's Visit to Tser Pool

Some players may view Strahd's visit to Tser Pool with mistrust or trepidation, fearing that Madam Eva's invitation may be a trap—or worse. As such, it is important to use the Vistani to emphasize the following points:

• While Strahd is respected among the Vistani, he is neither venerated nor blindly obeyed.
• Madam Eva is obliged to read the fates of all who seek her, whether she wishes to aid them or not.
• Madam Eva holds all fortunetellings in her deepest confidences, and would sooner die than betray a person's secrets to their enemies. [[Return]]

Stacking the Deck

This guide, as is frequent for Curse of Strahd campaign guides, advises DMs to "stack the deck" when running the Tarokka reading in order to obtain a particular outcome. It does so in three ways.

First, this guide removes a large number of readings that are entirely unsuitable for the campaign, including:

• for the treasure locations, any location that the players have already visited, including Madam Eva's encampment and the River Ivlis crossroads.
• for Strahd's enemy, any NPC whose immense strength would overshadow the players' and unbalance the final showdown, including Mordenkainen and Sir Godfrey Gwilym;
• for Strahd's enemy, any NPC whose relative weakness would hobble their efforts to contribute in the final showdown and disappoint the players, including Stella Wachter, Nikolai Wachter, Pidlwick II, Clovin Belview, and Arabelle;
• for Strahd's enemy, any NPC whose role and/or personality give them little reason to join the players against Strahd, including Sir Klutz, Arrigal, Parriwimple, and Vasilka;
• for Strahd's enemy, any NPC who the players have already met, including Ireena Kolyana, Ismark Kolyanovich, and Father Donavich.

Second, to encourage the players to investigate as many locations in Barovia as possible, this guide removes any treasure locations that the players are overwhelmingly likely to visit and explore of their own volition, including Argynvostholt, the Wizard of Wines, the Vistani encampment outside of Vallaki, and Castle Ravenloft.

Third, this guide "sequences" the treasure locations according to the relative value of the treasures themselves:

• Because the Tome of Strahd provides the characters with no mechanical advantages and serves largely to set up dramatic questions (e.g., regarding Ireena, the Sunsword, Sergei, and the Fanes) that will be answered later, it should be obtained relatively early, before the players reach 5th level.
• Because the Holy Symbol of Ravenkind provides the characters with a small, but meaningful advantage against Strahd's undead servants (i.e., limited access to sunlight), it should be obtained shortly after the players have had an opportunity to experience those servants' full strength and after the players have visited Castle Ravenloft to dine with Strahd, at approximately 6th or 7th level.
• Because the Sunsword provides the characters with an enormous and necessary advantage against Strahd himself (i.e., unlimited access to sunlight and significant magical weapon damage), it should be obtained almost immediately before the players' final showdown with Strahd, shortly after the players reach 10th level.

Fourth, this guide eliminates any treasure locations whose relative threat or difficulty are not proportionate to the time at which the players first encounter them, including the Tsolenka Pass guard tower, Marina's monument, Baba Lysaga's hut, Kasimir's hovel, the Blue Water Inn, the Gulthias tree, and Old Bonegrinder. [[Return]]

Recruiting Ezmerelda Early

DMs whose players struggle with combat or who frequently make unwise decisions may wish to allow those players to recruit Ezmerelda—an accomplished combatant and a (relative) voice of reason—shortly after their arrival in Vallaki.

Reducing the Number of Allies

It is not uncommon for DMs—especially newer DMs—to struggle with the sheer number of NPC companions that the players are likely to recruit during a campaign. While it is impossible for the players to recruit most NPCs to their party, it is not uncommon for the final showdown in Castle Ravenloft to include Ireena Kolyana, the vampire hunter Ezmerelda d'Avenir, the dusk elf Kasimir Velikov, and the party's foretold ally.

However, because Ezmerelda is likely to join the players' fight against Strahd regardless of Madam Eva's reading, DMs can select her as Strahd's foretold enemy in order to easily reduce the number of NPCs that they may need to run simultaneously in the future. [[Return]]

The Jack of Hearts

Unlike the other cards in Madam Eva's Tarokka reading, the card predicting Strahd's location in the castle has been artificially limited to the Marionette—but modifying the location described by this foretelling from the North Tower Peak to the Heart of Sorrow.

This choice has been made for the following reasons:

• The Heart of Sorrow presents a vivid and memorable set piece, symbolically evoking Strahd's titular "curse."
• The Heart of Sorrow lies at the core of Strahd's endgame plans, including both his initial plan to use the Heart to steal the Fanes' power and his ultimate plan to redirect the Heart's power to plunge Barovia into eternal darkness.
• The balcony overlooking the Heart of Sorrow is a dramatic location for Strahd to meet the players at their final encounter.
• The Heart of Sorrow cannot be easily reached from the main entrances to the castle, forcing the characters to venture deeper into Castle Ravenloft in order to get there.
• The Heart of Sorrow is well connected to the other parts of Castle Ravenloft, allowing Strahd and the players to move through an assortment of different dramatic locations over the course of the final fight.
• The Heart of Sorrow is a tactically interesting set piece, including intense verticality, an everpresent danger of falling, and included minions for the first and second phases of the final battle (i.e., the animated halberds and vampire spawn). [[Return]]

Stanimir's Request

This brief roleplaying exercise exists to provide the players with a brief moment to decompress after receiving the Tarokka reading, as well as an opportunity to begin developing or strengthening inter-party friendships (if the players haven't already). [[Return]]

Two Vistani Tales

While the character of Stanimir is exclusive to the Mysterious Visitors adventure hook in the original module, his tale of the "wounded prince" does an excellent job of setting up Strahd's deeper history, and has therefore been preserved and relocated in this guide.

Meanwhile, the tale of Mordenkainen's rebellion and defeat has been retained, both to implicitly connect Mordenkainen and Arabelle's quest and to supplement Doru's tragic tale.

Eliza's Request

This side quest has been added for the following reasons:

• It provides the players with an express reason to visit Blinsky Toys (which has been relocated to the Vallaki Town Square) and the Vistani encampment at Vallaki, thereby creating an opportunity for the players to encounter Izek Strazni, Blinsky's "Ireena doll," and the dusk elf Kasimir Velikov.
• It emotionally hooks the players into Arabelle's quest line, encouraging them to seek out and rescue her upon learning of her disappearance.
• It sets up an opportunity to establish a new antagonist for the players—Arrigal—if the players decline to rescue Arabelle, thereby creating a stronger dramatic question at the Vistani encampment. [[Return]]

If the players accept Eliza's quest, it likely unfolds as follows:

• The players are reminded of Blinsky Toys upon seeing Brom and Bray Martikov play with Blinsy-brand toys at the Blue Water Inn, and can obtain directions from Danika or Urwin. The following morning, the players hear the Bluto Krogarov, the Vallaki town drunk, observed a strange giant bird traveling northward across Lake Zarovich, carrying something in its claws.
• The players travel to the Vallaki Town Square, briefly encountering Izek and the prisoners' stocks. Upon entering Blinsky Toys, the players can observe the Ireena doll in Blinsky's possession and purchase a gift for Arabelle.
• The players travel to the Vistani encampment outside of Vallaki, where they learn that Arabelle has vanished. The only clue is a sighting of a strange giant bird that soon vanished into the mist.
• If the players accept the mission to rescue Arabelle, they can spend multiple hours searching for her near the north shore of the lake, or they can speak with Bluto to learn more about the bird's ultimate destination.
• Eventually, the players can find the entrance to Mordenkainen's magnificent mansion tucked away by one of the slopes of Mount Baratok. Upon entering, they encounter Mordenkainen, who allows them to take Arabelle without a fight.
• If the players successfully rescue Arabelle, Arrigal ignores Eliza's coded message and Luvash allows the players to choose a treasure from his wagon. If the players decline to rescue Arabelle, Arrigal instead drugs them with poisoned wine and attempts to interrogate them regarding Madam Eva's Tarokka reading. [[Return]]

The Skeletal Rider

In the original module, this random encounter plays little role other than to create a spooky atmosphere. Here, it plays much the same role, but has two additional benefits when placed in context with the revenant encounter that follows it.

The Watchtower

This location was created to foreshadow Barovia's history of war, setting up the encounter with the revenant at Tser Falls and the longer Argynvostholt plot line. The view from the top of the tower also paints the Barovian valley as a once-majestic landscape—a landscape that the players will see restored by the end of the campaign.

However, unlike a video game, a Dungeon Master cannot organically allow players to explore a piece of background scenery during travel without artificially breaking immersion. As such, the corpse of the dire wolf has been placed nearby in order to encourage the players to pause their travel and investigate further. [[Return]]

The Graves

These graves have been placed to foreshadow the plight of the Barovian refugees outside of Vallaki and to use environmental storytelling to justify the refugees' reluctance to risk the return trip to the village of Barovia. [[Return]]

The Revenant at Tser Falls

In the original module, the revenants of Argynvostholt are largely concentrated at the mansion itself—decaying and darkened remnants of a once-great force.

In this guide, the recent history of the Order of the Silver Dragon have been modified to justify Vladimir's refusal to see Strahd slain, to justify the revenants' willingness to obey him, and to prevent the players from recruiting Vladimir—or his revenants—as allies against Strahd's lesser servants (whom, in the original module, Vladimir is glad to see slain).

As such, the new history of the Order includes the following modifications from the original module:

• The sole animating force tying the revenants to undeath is Vladimir's hatred. Because Vladimir became a revenant for the sole purpose of inflicting suffering upon Strahd, his knights are physically incapable of taking any physical action that would conflict with their animating force.
• Vladimir himself believes that Strahd's suffering will be greatest if Strahd is forced to rule over a grim, hollow country filled with pain and despair. Vladimir also believes that, inevitably, Strahd will reshape Barovia to reflect the corruption at the base of Strahd's own soul. Vladimir therefore views himself as Strahd's "enabler," ensuring that Barovia's resulting spiral into darkness remains uninterrupted. As such, Vladimir has banned the revenants from taking any action against Strahd or his servants.
• One year ago, when Mordenkainen began to gather his rebellion, a wandering revenant learned of it and brought news back to Argynvostholt. The ensuing debate enraged Vladimir, who banished all of the other revenants—save for Godfrey—from Argynvostholt for a century. Those revenants now stand scattered throughout Barovia: at Tser Falls, outside of Castle Ravenloft, at the gatehouse at Tsolenka Pass, outside the ruins of Berez, and on the western road past Krezk.
• The revenants are waiting for news of Vladimir's orders to return to Argynvostholt and march upon Castle Ravenloft, but know in their hearts that such an order will never come. However, in the time since they were banished, Godfrey has asked them to direct any who would resist Strahd to him—to raise the banner of the Order of the Silver Dragon and light the beacon that once shone from Argynvost's peak.

As such, this encounter now serves to hook the players to Argynvost itself—a location with few natural hooks in the original module.

This version of this encounter, however, is intentionally written to preclude the players from learning much of this lore and therefore preserve much of the mystery of Barovia's past until their meeting with Godfrey, who will also share information about Argynvost, Strahd, and—potentially—the Amber Temple. [[Return]]

The Huntress' Monument

This monument is one of three scattered throughout Barovia honoring the Ladies of the Fanes—here, the Huntress. Unlike the Fanes, this monument has no magical power, and no role in the immediate narrative. However, it foreshadows the existence of the old gods of the valley, priming the players for the Fanes quest line later on. [[Return]]

Meeting Morgantha

Old Bonegrinder and Morgantha's night hag coven are infamous for causing low-level TPKs. Worse, these TPKs are often without reason or purpose, with low-level players wandering into the windmill with no goal other than general exploration.

It is a fundamental rule of D&D that, while players must always be allowed to make risky choices, those risky choices must always be intentional. Too often, even after receiving the raven's warnings, players will choose to enter and explore the windmill simply because it is there—and face grievous consequences as a result.

As such, this guide uses Morgantha to introduce Old Bonegrinder, communicating to the players that it is neither a dungeon nor a site of interest—it is simply someone's home. This strongly discourages players from snooping around without a strong reason to do so.

However, this change also has the side benefit of clearly communicating to the players where Morgantha can be found later on, allowing them to track her down during the Lost Soul arc in Act IV and forewarning the players of her presence during the Ladies of the Fanes arc in Act V. [[Return]]

The Swarms of Ravens

It is not uncommon for players to unintentionally assume that Barovia's ravens are a malevolent force—an assumption that has led many players to accidentally alienate the Keepers of the Feather by attacking "suspicious-looking" ravens.

As such, this random encounter—and, specifically, the ravens' assistance in the werewolf encounter afterward—serves both to foreshadow the Keepers of the Feather and to communicate that ravens are friends, not enemies. [[Return]]

Upgrading the Wolves

Wolves are pack animals with a propensity for targeting vulnerable members of a group and isolating them for slaughter. This addition to the wolves' statistics aims to aid them in doing so by naturally synergizing with their ability to knock an enemy prone through their bite attack. (As a reminder, a creature that has been knocked prone and grappled cannot stand back up without first ending the grapple.) [[Return]]

Changes to Lycanthropy

Lycanthropy in Dungeons & Dragons is a deeply challenging topic for Dungeon Masters to handle and adjudicate. It is trivially easy for a werewolf to infect a player with lycanthropy, but the consequences for gameplay are staggering:

• First, the infected player becomes immediately immune to all of the infecting werewolf's further attacks, which deal solely nonmagical weapon damage.
• Second, the player immediately gains an enormous boost in Strength, threatening to overshadow any Strength-focused members of the party.
• Third, the player immediately gains a complete immunity to all nonmagical, non-silvered weapon damage—a category that includes the vast majority of damage dealt by 5th Edition enemies, and nearly all of the damage dealt by low-level enemies.

Together, these changes risk dramatically unbalancing combat encounters, with only two trivial drawbacks:

• The infected player transforms into a CR 3 werewolf once every thirty days.
• If the infected player "embraces the curse," their alignment becomes Chaotic Evil, potentially turning them into an NPC.

The first drawback is trivial because most D&D adventures—let alone Curse of Strahd—take place over relatively short periods, meaning that most infected players will transform at most once during any particular arc. Furthermore, a single CR 3 enemy is a trivial encounter for most adventuring parties, including low-level ones.

The second drawback is trivial because the concept of "embracing the curse" is ill-defined; players can easily claim to be "resisting the curse" in roleplay while happily embracing its benefits in actual gameplay. Furthermore, even if a player does "embrace the curse," few modern Dungeon Masters are willing to force an alignment shift upon their players—and even fewer are willing to turn those players into NPCs. (Many players may even delight in having an opportunity to roleplay a chaotic evil character, turning this drawback from a theoretical penalty to an outright boon.)

Many homebrewers have attempted to address these problems—for example, by imposing a gradual transformation that takes place over time, or by making full moons more frequent. However, neither attempted solution resolves the core balancing problems inherent to 5th Edition lycanthropy.

Furthermore, no homebrewer has yet successfully offered an explanation for why the Keepers of the Feather—a society of Good-aligned lycanthropes opposed to Strahd—would withhold the gift of wereraven lycanthopy from a group of heroes who could easily make use of it. (This is doubly true if the players have easy access to the remove curse spell, making wereraven lycanthropy a temporary, yet effective asset in the battle against Strahd.)

As such, this guide offers a revised, yet simple approach to lycanthopy that aims to balance player lycanthropy through the following changes:

• Players bitten by a werewolf cannot control or gain the benefits of their lycanthropy without crossing an unforgivable moral horizon—the murder and cannibalism of a fellow humanoid.
• Players bitten by a wereraven cannot control or gain the benefits of their lycanthropy without triggering a difficult and unlikely set of circ*mstances—personal defeat in defense of a fellow humanoid's life. (Notably, a player who does this while intending to trigger lycanthropy isn't doing so with the intention of selfless defeat, and therefore will fail to embrace their curse.)

In the case of werewolf lycanthropy, it is exceptionally unlikely that players will ever murder and consume the flesh of another humanoid, preventing any potential issues.

In the case of wereraven lycanthropy, a character who learns the prerequisites for embracing their curse can never actually obtain the requisite mindset for doing so. As such, the Keepers of the Feather guard the secrets of their curse jealously—not least because Strahd could easily use it to prevent the infection of new members, and so end their organization forever.

Regardless, however, whether they are able to embrace their curse or not, an infected player still transforms into their hybrid form on the night of the full moon, creating emple opportunity for classic lycanthrope hijinks. [[Return]]

The Barovian Refugees

The camp of Barovian refugees has been added to accomplish the following goals:

• To give Ireena something to do while in Vallaki,
• To give the players a reason to interact with Baron Vallakovich,
• To give the players a reason to dislike Baron Vallakovich (due to his refusal to allow the refugees to enter),
• To give the players a reason to support Lady Wachter (due to her promise to allow the refugees to enter),
• To give the players a reason to oppose Lady Wachter, once she has seized power (due to her diplomatic refusal to allow most of the refugees to enter, and her willingness to offer them as a blood tax to Strahd),
• To give the players an opportunity to infiltrate Castle Ravenloft in order to steal Argynvost's skull (due to Strahd's absence in order to collect the blood tax), and

The Toll at the Gates

This toll has been added to accomplish two things:

• It primes the players to dislike Baron Vallakovich, encouraging them to oppose him (and thereby kill Izek), and
• It helps to justify the relative absence of werewolves in Vallaki (who would be loathe to steal treasure from Mother Night's holy shrine in the Werewolf Den in order to afford the cost of entry). [[Return]]

Silver in Vallaki

Given the danger of werewolves, it beggars belief that Baron Vallakovich—even as an ineffectual, narcissistic nobleman—has not laid claim to Vallaki's silver reserves for the purposes of military defense. This "silver tax" (and the resulting use of silvered weapons by Vallakian guards) helps to explain why the pack of werewolves has not already completely overrun Vallaki, let alone the camp of Barovian refugees. [[Return]]

All Will Be Well

If Madam Eva's Tarokka reading placed the Tome of Strahd in the attic of Baron Vallakovich's manor, the guards' use of this phrase clearly hints to the players that they've found the town in which the Tome is hidden. (Later on, during the players' first night at the Blue Water Inn, the Wachter brothers repeat the phrase with an ironic twist, hopefully driving it into the players' memories.) [[Return]]

Ernst's Watch

Izek is particularly well-suited as an opponent for a group of 4th-level players, and works well as a climax to the players' time in Vallaki. As such, Ernst's observations (and subsequent invitation) have been placed early on in Vallaki to ensure that the players are swiftly hooked into the relevant arc. [[Return]]

Welcome to the Blue Water Inn

The sheer number of NPCs that the players can encounter in the Blue Water Inn can be overwhelming to many DMs. As such, these NPCs' introductions have been intentionally staggered, allowing the DM—and their players—to gradually get to know an expanding cast of characters over a period of multiple scenes.

This approach has the added benefit of making the Blue Water Inn feel like a natural hub of Vallaki, increasing verisimilitude and quickly immersing the players in their new location. [[Return]]

Delaying the Wizard of Wines

While a party of 4th-level players can ostensibly complete the Wizard of Wines quest line without much difficulty, they must then immediately complete the Yester Hill quest line—an adventure that poses a challenge to *5th-*level players—in order to prevent the winery's inevitable destruction at Wintersplinter's hands.

This is, understandably, problematic—not least because a party that reaches 5th level upon completing one or both quests can return to find Vallaki's remaining content exceptionally underwhelming and underpowered.

As such, this revision intentionally staggers this quest's availability, withholding it until the players have reached 5th level and—as an exceptionally likely result—completed most or all of the content that Vallaki has to offer.

This approach has an additional benefit as well: it reduces complexity. Dungeon Masters often find themselves overwhelmed soon after their players arrive in Vallaki, losing themselves in an expanding web of possibilities to prepare for—including Argynvostholt, Krezk, and more. However, if the players have no immediate reason to leave Vallaki until several days after they've arrived, the Dungeon Master will likely find it far easier of a sandbox to manage than the entirety of western Barovia. [[Return]]

Meeting Brom and Bray

This short scene serves to endear the players to the Martikov family; highlight the Blue Water Inn as a spot of light, warmth, and hope among the darkness of Barovia; and offer the players an opportunity to inquire about Blinsky Toys (as per Eliza's quest to deliver a toy to Arabelle). [[Return]]

Meeting Nikolai and Karl

This brief encounter with Nikolai and Karl Wachter serves to foreshadow Vallaki's tense political scene and to introduce the noble house of Wachter. [[Return]]

Urwin's Reluctance

Urwin's refusal to discuss the

Meeting Rictavio

The Secret Stairs

It is unlikely that any player will deduce that the Blue Water Inn has a secret staircase from this brief scene. Nonetheless, it serves as a quiet and subtle piece of foreshadowing that the Martikovs are not all that they seem. [[Return]]

Bluto's Tall Tale

The Wanted Posters

Ernst's Invitation

End of Act I