Act I: Into the Mists

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 Storm

The players begin on the Triboar Trail, traveling from the small village of Conyberry toward the High Road, which will lead them to the city of Neverwinter. (At your discretion, the players might begin in a different location, on a different path, or in a different world entirely, so long as the isolated, wild nature of their surroundings remains the same.)

As the players proceed down the woodland road, late afternoon begins to turn to dusk—and a light rain begins to fall. As a storm begins to brew and night begins to fall, the players can see a light through the trees up ahead and the silhouette of a structure beyond the canopy. [Note]

If the players proceed down the road, they emerge into a forest clearing. Within the clearing stands Death House: a lone manor flanked by an empty, darkened carriage house and garden shed. The house’s grounds are surrounded by an untrimmed hedge, with a path leading from the road to the Entrance (p. 212). The entire clearing, save for the place where the players entered, is surrounded by the Mists of Ravenloft (p. 23).

The light the players observed emanates from a lantern held by one of two childlike silhouettes huddled together by the house’s front entrance.

When the full house comes into view, lightning and thunder split the sky above, the trees buckling beneath a howling gale. It should be clear that the players should seek shelter—or risk getting drenched and chilled to the bone.

A1b. Rose and Thorn

This scene proceeds largely as discussed in Rose and Thorn (p. 211), but with a number of additional changes.

The illusory Rose is holding a lantern, and the door to the Entrance (p. 212) appears to have been broken down. The illusory Rose and Thorn are physical simulacra, and do not disappear if touched, attacked, or forced into the house.

If approached, the illusory Rose and Thorn inform the PCs that a monster broke into their home, and that their parents and baby brother Walter are still trapped inside. Both illusory children are too frightened to enter the house, and Rose refuses to leave Thorn’s side, who fled in tears when the monster began to roar.

The children refuse to venture into the fog—which they insist appeared shortly before the monster appeared—in search of help because they believe that “bad things” lurk there.

A player with a passive Wisdom (Perception) score of 15 or higher can hear an infant’s faint cries echoing from the interior of the house.

Do not show the players the picture of Rose and Thorn found in the book (p. 212). [Note]

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.

As soon as all of the characters enter the Main Hall (p. 212), the front door slams shut, extinguishing all lights in the house and causing the illusory Rose and Thorn to disappear. The sound of the storm 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.)

Rose and Thorn’s giggling voices then echo through the house, 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.

As Rose and Thorn’s voices fade, the grandfather clock 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.

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 Basement

Hidden Spiked Pit

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

If the characters enter this area from Well and Cultist Quarters, read:

If the characters enter this area from Dining Hall, read:

If the characters enter this area from Ghoulish Encounter, read:

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:

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:

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.

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 basement 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]

When the players next begin to move toward the exit, however, the spirit of Elisabeth Durst appears before the players, her features warped to resemble a ghast and wearing her amber shard on a cord around her neck. (If the players are still in the Ritual Chamber, Elisabeth’s spirit appears atop the dais.) Elisabeth snarls: “You may have escaped my pet—but I will pull this house down upon your heads before I allow you to escape.” She then throws her head back and lets out a blood-curdling shriek, causing the house’s foundations to tremble and quake. Upstairs, the grandfather clock in the Main Hall begins to chime incessantly. As rocks and dust begin to pour down from the ceiling, Elisabeth’s spirit fixes the players with a frenzied snarl—and vanishes.

It soon becomes clear to the players that the entire house might collapse over their heads before they’re able to escape. As the players move to flee, a skill challenge begins. (See here for more information on how to run a skill challenge.)

The goal of this skill challenge is to escape Death House before it collapses. To do so successfully, the players must accumulate 5 successes before reaching 3 failures. The DC for each round of the skill challenge is 14.

If, at the time they escape Death House, the players have accumulated three or more failures, each player must make a Dexterity check. For each failure in the skill challenge beyond the second, the player with the next-lowest result takes an additional 2d6 bludgeoning damage. (For example, if the players have accumulated four failures, the players with the two lowest results take damage.)

A player reduced to 0 hit points this way is buried beneath the collapsing house and lost forever. [Note]

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.

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.

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.

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.)

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.”)

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.

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.)

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.

(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."

Soon after Madam Eva delivers her warning, the "light" in the tent visibly dims, as though a shroud of darkened mist has descended upon it. In response, Madam Eva stirs and says, "He has sensed me. He cannot know of our meeting. Fly, travelers! I shall await you at Tser Pool!"

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.

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.

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. When the players leave the church, they can hear the church bell ring a single time. If the party returns to the church, they find that Donavich has hanged himself from the bell's rope.

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.

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.

When the players return to the burgomaster’s manor following the burial, Ireena has adorned her chestplate and rapier, and has prepared a travelling 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. A small sitting area to the south contains a fireplace, two comfortable armchairs, and a dirty rug. Stairs lead up from here to the second floor.

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, and Mad Mary's missing daughter, Gertruda.

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.

If Ireena is With the Party

Strahd notes that the players are outsiders to Barovia and asks them how long they intend to remain in his domain.

If any player actively indicates a desire to leave Barovia, Strahd replies, "Truly unfortunate. For, as you may have learned, none may pass through the mists that surround my domain." He pauses, and then adds, pleasantly, "At least, not without my allowance. And I am nothing if not a reasonable man."

If a player falsely claims to have no desire to leave Barovia, Strahd replies, "I have heard some claim it to be a blessing to be rootless. I confess, I have always seen it as a terrible curse. What sweet pain it is to be apart from the place you call home." Strahd then addresses the rest of the party, asking whether that player speaks for them as well.

(If the players continue to falsely claim to have no desire to leave Barovia, Strahd replies, "Come, now. I expect my subjects to be honest in their dealings with each other, but most especially with me. Shall we try again?" If the players continue to lie to Strahd, he sighs and says, "My patience grows thin for fools and prevaricators. I have no time for those who would waste it." He then motions to his dire wolves and says, "Discipline them." The dire wolves then attack.)

If any player expresses an interest in obtaining Strahd's permission to leave Barovia, Strahd replies, "Let us see your loyalty to your betters. Bring me Ireena Kolyana." (If the players ask Strahd why he's preying on Ireena, he replies as described in Roleplaying Strahd (p. 10).) At Strahd's words, Ireena steps back in fear, growing even paler and looking at the players for signs of assurance.

If the Players Bring Ireena to Strahd

If the players attempt to bring Ireena to Strahd, she resists, begging them to spare her. "Please," she sobs. "I can help you. You don't have to do this!"

If the players nonetheless grapple and pull Ireena to Strahd, he regards her for a moment, reaching forward to caress her cheek with a long, pale claw. He then backhands each of the player(s) that brought her to him with an unarmed strike, his face curling into an expression of disgust.

"Fools!" he says. "Ireena Kolyana belongs—and has always belonged to me. I do not need your permission to claim her; her very soul is mine to take, and I shall do so when I wish. But I have nothing but loathing for those who would crawl over others to save their own sniveling skins, like rats aboard a sinking ship."

He shakes his head and turns toward the black carriage, turning his back on the players and saying, "I have no use for such refuse in my lands." He raises a hand toward the dire wolves and says, "You may devour them." The dire wolves then attack. (On the first round of combat, Strahd's carriage pulls away toward Castle Ravenloft, vanishing into the fog of the Old Svalich Road.)

If the Players Do Not Bring Ireena to Strahd

If the players refuse to bring Ireena to Strahd, Strahd smiles coldly and says, "So you choose defiance, then? I must question your wisdom. Surely you know the fate of those that have defied me before." The six dire wolves then step forward, growling, with their hackles raised.

If the players continue to refuse to bring Ireena to Strahd, Strahd says, "Your determination in the face of certain death is a tawdry spectacle. Very well. Let us see if your skill matches your foolishness of conviction." The dire wolves then attack the players. (Ireena fights alongside them.)

The Players Are Defeated. If the players fight the dire wolves and fail, Strahd halts the wolves before the last two players can be knocked unconscious. He dismisses the wolves and returns to the carriage, saying mournfully, “I must admit—I thought you had more fight in you.” He then departs.

The Players Defeat the Dire Wolves. If the players fight the dire wolves and succeed, Strahd applauds them, saying, “Bravo! That look in your eyes—I've seen it before. Perhaps one day you shall warrant my full attention.”

If Ireena is Not With the Party

Strahd notes that the players are, technically, trespassers into Barovia, and wonders aloud how to deal with them. "Do not imagine that you are the first to invade my realm. After all, recent events suggest that impatience in the face of such transgression is no sin." He adds, "In some lands, the penalty for trespassing is death," he says. "How would you suggest I deal with such malfeasance?"

Regardless of the players' suggestions, Strahd inevitably suggests the following:

C2. River Ivlis Crossroads

This area is largely as described in River Ivlis Crossroads (p. 35). (Do not check for a random encounter.)

This scene begins similarly to River Ivlis Crossroads (p. 35). However, the first time the players move to depart for Tser Pool, instead of seeing The Hanged One, they can hear the sound of a horse-drawn carriage or wagon approaching. After a few moments, Strahd’s black carriage, as described in Black Carriage (p. 37) and Carriage House (p. 54) comes into view.

If the players have not concealed themselves, the carriage comes to a stop. Read the following, modifying the text as necessary if Ireena isn’t present, and pausing briefly after each paragraph to allow the players a short opportunity to act or react:

NPC Profile | Strahd von Zarovich

Roleplaying Information

Resonance. Strahd should make the players feel uncomfortable (due to his vampiric nature and absolute confidence), fearful (due to a constant implied—yet never acted upon or made explicit—threat of violence), and insulted (due to his arrogance and condescension).

Emotions. Strahd's most frequent emotions are curiosity, amusement, solemnity, scorn, disgust, and satisfaction.

Motivations. Strahd's actions are most often motivated by his desire to secure a successor, his desire to reassert his authority across Barovia, his desire to reclaim his former power, his desire to find additional consorts, his desire to find and imprison Dr. Rudolph van Richten, and his desire to turn Ireena Kolyana into a vampire spawn.

Inspirations. Consider taking inspiration for Strahd from Tywin Lannister (Game of Thrones), Frank Underwood (House of Cards), Hannibal Lecter (The Silence of the Lambs), and Vito Corleone (The Godfather).

 

Character Information

Persona. To strangers, Strahd appears as a civilized, confident lord who demands respect. To those Strahd trusts or knows well, he appears as a cold, cruel predator whose sole amusements come from his ability to dominate, twist, and break his victims. Deep down, Strahd knows that his efforts to amuse himself are mere distractions—yet because he believes his soul is lost to evil, he feels neither pity nor remorse, nor love nor hate.

Morale. In a fight begun by another, Strahd would refuse to allow himself to be aggravated, preferring to allow his servants to do fight on his behalf, or even disregarding his opponent's efforts to harm him. In all cases, however, when Strahd decides that violence is necessary—either to make a vital point or, in rare cases, to defend himself—he is swift, cunning, and unforgiving.

Relationships. Strahd is the elder brother of the late Sergei von Zarovich, and (unknowingly) the former charge of Baba Lysaga, his ancient nanny.

Strahd, Third Form

Medium undead (shapechanger), lawful evil

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

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

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• 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

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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.

Vampiric Resilience. When Strahd drops to 0 hit points, if his first or second form has at least 1 hit point remaining, his statistics are instantly replaced by the statistics of that form. (Strahd's initiative count doesn't change.) Otherwise, Strahd dies.

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

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

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.

Lair Actions

On initiative count 20 while in Castle Ravenloft (losing initiative ties), Strahd can take a lair action to cause one of the following magical effects. He can't use the same effect two rounds in a row.

Deluge of Blood. A sea of blood 5 feet deep fills the level of Castle Ravenloft that Strahd currently occupies, making it difficult terrain to all creatures other than Strahd, until initiative count 20 on the next round.

Wails of the Damned. Strahd calls forth the spirits of creatures that died in Castle Ravenloft, summoning an ethereal torrent of shrieking specters in a 20-foot radius centered on a point within 60 feet of Strahd that he can see. Each creature in that area must make a DC 18 Constitution saving throw or be frightened of Strahd for 1 minute. A frightened creature can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success.

Using Strahd’s Charm

As noted in the ability text, Strahd cannot use his Charm ability against a player character that is averting their gaze and therefore cannot see him.

Additionally, because this ability requires no magical components, it is impossible for the players to identify when it has been used except by observing its effects (e.g., a character acting uncharacteristically friendly toward Strahd).

To execute this ability, secretly inform Strahd’s target—such as via a private written note or electronic message—to make a Wisdom saving throw and declare the result without announcing what type of roll it is.

If the target fails the saving throw, secretly inform them: “You are now charmed by Strahd. While charmed in this way, you regard Strahd as a trusted friend to be heeded and protected. You aren’t under Strahd’s control, but you take his requests and actions in the most favorable way and let Strahd bite you. You can repeat your original saving throw at the end of each of your turns—or, out of combat, after each task you perform for Strahd, such as answering a question or performing some other brief assignment. On a result of 19 or more, the effect ends, and you know that you were charmed by Strahd. If you fail your saving throw against this effect ten times in a row, including your first saving throw, you remain charmed for the next 24 hours, until Strahd is destroyed, or until he takes a bonus action to end it.”

If The Encounter Ends Peacefully

If the players fight neither Strahd nor his dire wolves, this scene ends when he decides that he has gleaned all of the useful information that he reasonably can from the players. When this happens, Strahd bids the players farewell and steps back into the black carriage.

As he does, the dire wolves emerge from the woods, if they haven’t already, and flank the carriage. Strahd notes that he and his “friends” shall see the players again—perhaps very soon. The carriage then departs for Castle Ravenloft.

If The Players Insult Strahd

If any of the players were rude or disrespectful to Strahd during this encounter, before he leaves, he attempts to charm the rudest player. If successful, he compliments them on their grit and beckons them closer in order to “get a better look at them.” He lightly caresses their cheek, murmuring that he admires grit—but that it is so often untempered by wisdom.

Strahd then runs his hand down their neck, exposing the flesh of their neck, and whispers, “A gift to remember me by, when you are wiser,” and—if uninterrupted—bites them, automatically inflicting the damage of a bite attack against them until they fall unconscious or make a successful saving throw against being charmed.

If the player character falls unconscious, he allows their body to fall to the ground, assuring their companions that his victim shall awaken soon enough—and, hopefully, at least somewhat wiser. He then returns to the carriage and departs.

If The Players Initiate Combat

Once they’ve emerged, the six dire wolves attack at Strahd’s direction, aiming to knock the players unconscious rather than killing them. If combat erupts, Strahd prefers to take the Dodge action unless he is damaged or otherwise harmed, in which case he targets his attacker with his unarmed strike until they are unconscious. Escher does not fight except in self-defense.

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 one of the characters that interacted the least with Strahd.)

C2b. The Fleeing Raven

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.

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.

C3. 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 amusement, 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.

Stacking the Deck

Immediately before the scene in which the players meet Madam Eva, if you are using a physical Tarokka deck for the reading, choose which five cards Madam Eva will draw and stack them on top of the deck in the order described in Card Reading (p. 11).

When choosing which card(s) to use for which part of the reading, select from the following lists:

 

The Tome of Strahd. Choose one of:

• 7 of Stars—Illusionist (if you want to give the players reason to investigate Rictavio)
• 9 of Swords—Torturer (if you want to give the players reason to befriend or antagonize the Baron)
• 9 of Glyphs—Traitor (if you want to give the players reason to antagonize Lady Fiona Wachter)
• Master of Stars—Wizard (if you want to allow the players to recruit Ezmerelda early)

The Holy Symbol of Ravenkind. Choose one of:

• 2 of Coins—Philanthropist (if you want to give the players a reason to explore the Abbey of Saint Markovia)
• 1 of Glyphs—Monk (if you want to give the players a reason to visit the Abbey of Saint Markovia)
• 5 of Swords—Myrmidon (if you want to give the players a reason to visit the Werewolf Den)

The Sunsword. Choose one of:

• 7 of Swords—Hooded One (if you want to give the players a reason to fight Neferon, the arcanaloth)
• 8 of Glyphs—Bishop (if you want to give the players a reason to delve deeper into the Amber Temple)

Strahd’s Enemy. Choose one of:

• Artifact (Joker 1) (if you want your ally to guide your players and discourage rash decisions)
• Beast (Jack of Diamonds) (if you want your ally to defend your players from Strahd's lesser minions)
• Donjon (King of Clubs) (if you want your ally to provide your players with powerful offensive magic)
• Seer (Jack of Clubs) (if you want your ally to provide your players with powerful utility magic)
• Mists (Queen of Spades) (if you want to reduce the number of allies your players will have) [Note]
• Raven (Queen of Clubs) (if you want your ally to serve your players as a resourceful yet cautious scout)

Strahd’s Location in the Castle. Choose Marionette (Jack of Hearts) [Note]

C3c. 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.

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

• 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 amusement, 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.

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.

C4. The Skeletal Rider

When the players return to the River Ivlis Crossroads after receiving the Tarokka reading, they encounter the Skeletal Rider (p. 31).

C5. The Watchtower

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

Pause to allow the players to act or react. If the players remain silent, continue to Tser Falls below. Otherwise, allow the players to explore the area.

C6. 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.

The High Road

As the players travel west on the Old Svalich Road, read:

While traversing this section of the Old Svalich Road, the players are stalked by one of Strahd's spies: a wolf. (See Strahd's Spies on pg. 29 for more information.)

If the players dispatch, ignore, or fail to notice the wolf, continue:

The players then arrive at Tser Falls (p. 37).

Tser Falls

This area is largely as described in Tser Falls (p. 37). Additionally, when the players arrive, they can see a Revenant (p. 31) standing alone at the midpoint of the bridge with its hands resting on the pommel of its sword, the blade of which is planted firmly on the ground.

This nameless revenant was banished, along with a dozen of its peers, from the ruins of Argynvostholt shortly after the failure of Mordenkainen's rebellion four weeks ago.

When news of Mordenkainen's revolt reached them, the knights of the Order of the Silver Dragon raised their voices, begging Vladimir Horngaard to allow them to lend their swords to the cause.

Vladimir denied them and, when the knights grew enraged and unruly after Mordenkainen's fall, banished them from the manor and forbade them from raising their swords against Strahd or any of his creatures. Now, only Sir Godfrey Gwilym, Vladimir Horngaard, and the spirits of the phantom warriors that once fought for the Order remain in Argynvostholt.

If the players call out to this nameless revenant or step onto the bridge, it hails them in a raspy voice and asks their business. Upon hearing their response, it says, "Old things are stirring and the lord of Castle Ravenloft roams the valley. Tell me: Do you serve him?"

If the players claim to serve Strahd, the revenant visibly stiffens, but stands aside, saying coldly, "Then be gone on your way, and may your foul work bring you ruin and despair."

If the players deny serving Strahd, the revenant is visibly relieved and invites them to approach so that it may "get a closer look at them." It introduces itself as a knight of the Order of the Silver Dragon, but claims to have long forgotten its name in life.

If the players' weapons are clearly visible, it asks the players if they oppose the lord of Castle Ravenloft, or if they are neutral. If the players claim to oppose Strahd, the revenant advises them to travel to Argynvostholt to the west, where Sir Godfrey Gwilym awaits those who would raise their swords against the darkness the lurks in the castle's depths.

If the players inquire about the Order of the Silver Dragon, the revenant shares only that the knights of the Order opposed the lord of Ravenloft in life and suggests that the players speak with Sir Godfrey to obtain further information. If the players obtained the silver pendant in the watchtower by the River Ivlis Crossroad, the revenant recognizes it, but refuses to comment further on its significance.

If the players ask the revenant why it is guarding the bridge, it says, "Because I raised my voice against my commander and was banished. Now, I stand like my brothers- and sisters-in-arms, watching the dark places of this land and awaiting an order that will never come."

If the players ask why it cannot take up arms against Strahd itself, it says, "Because my commander forbids it, and my spirit is bound from disobeying his will." It is willing to share that its commander's name is Sir Vladimir Horngaard, but is unwilling to share more, advising the players to speak with Sir Godfrey instead.

If the players ask for directions to Argynvostholt, the revenant advises them to travel "west, beyond the walled town, then south upon the ash-gray path."

If the players mention Strahd's carriage, the revenant notes its disgust for the "the beast Von Zarovich" and advises the players to be cautious of him and his servants and spies. If the players mention the skeletal rider, the revenant recalls that "the Wandering One has long sought a road through the mists."

The revenant will not leave its post on the bridge under any circumstances.

C7. 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:

C8. 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.)

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).

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."
• She is just returning from a day peddling her goods to the townsfolk of Vallaki and the "poor, hungry dears" camped outside the gates. (Her latter comment is referring to a camp of Barovian refugees that has not been allowed to enter the town.)
• She lives in the old windmill up the hill with her two daughters, Bella and Offalia. (She kindly declines to share what happened to her "husband," saying only, "Now, that's an old woman's business, meant to be shared only if she chooses.")

Morgantha has only two "dream pastries" left from her workday—"filled with the light and love of dreaming"—which she offers to the players for free as a "first sample." She advises the players that the dream pastries taste best after a warm meal, "especially with a nice bit of wine to wash them down."

If asked how she manages to travel the roads safely, Morgantha only smiles and promises the players that "an old woman has her tricks." ("But," she complains, "my back and poor feet do complain from time to time. I can't wait to soak them in a tub of nice, hot water once I'm home.")

When the conversation runs out of steam, Morgantha bids the players a safe journey, and lets them know that they can find her outside of Vallaki's gates in the future, should they like to purchase additional pastries.

The dream pastries, if eaten, affect the players as described in Dream Pastries (p. 125).

C9. 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:

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).

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 Refugee Camp

If she is with the party, Ireena is heartbroken and enraged at the sight of the refugee camp. She suggests that she meet with the refugees while the players find lodging in town, and promises to join the players later. The players can dissuade her with a successful DC 15 Charisma (Persuasion) check. Otherwise, Ireena approaches one of the cookfires, either alone or—if the players have insisted on joining her—with company.

The members of the refugee camp, which include Valentin, a melancholy older man, and Mathilda, a grief-stricken young woman, can share the following information:

• The Barovian refugees arrived at Vallaki's gates a few days ago, but were barred from entering. When they attempted to breach the gates by force, the guards summoned a man they called Izek, who bore a twisted devil's arm and conjured fire to drive the refugees back.
• Since then, the refugees have set up camp outside the town's walls, clustering together for protection and warmth. They've managed to secure some minor necessities, such as the tents, by bribing the guards at the gates, but have been unable to persuade the guards to allow them entry or to even invite the town's Baron to discuss their plight.
• Swarms of bats and packs of wolves have plagued the camp each night since they've arrived. Thankfully, no one has died yet, but several refugees have been wounded.
• Due to losses they suffered on the road and the threat of the Devil in Castle Ravenloft, the refugees are unwilling to risk the journey back home, instead hoping to wait until the Baron sees reason and allows them to enter the walls.
• Roughly one-quarter of the refugees have become addicted to "dream pastries," a foodstuff sold by the peddler Morgantha. These refugees seek an escape from the misery and despair of their situation. Those who eat a dream pastry fall into a trance as described in Dream Pastries (p. 125).

The refugees are lost in despair. Many are cold toward Ireena, and all are unwilling to accept her offers of help. Some blame her, as well as Ismark "the Lesser" and the late Burgomaster of Barovia, for their failure to prevent Strahd's awakening and invasion. Others recall a superstition that red-haired Barovian woman bring misfortune, and suggest that Ireena herself has brought a curse upon their people. None have any wish to deal with her further.

Following her interaction with the refugees, Ireena is further enraged by the Baron's evident callousness, and vows to make her best efforts to secure entry for the refugees into 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.)

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.

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."

Entering the Town

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

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:

• Danika Martikov, who is pouring drinks and serving patrons in the N2c. Taproom;
• Urwin Martikov, who is cooking bread and wolf stew in the N2e. Kitchen;
• Brom and Bray Martikov, who are playing with toys in N20. Boys' Bedroom; and
• Rictavio, who is feeding his horse, Drusilla, in N2f. Stable.

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.)

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).)

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.

If the players ask about the Wachter brothers, Urwin can tell them the information listed in N2c. Taproom (p. 100). If the players ask about their mother, or about the response to Nikolai's declaration that "All is not well," Urwin becomes visibly uneasy, and promises to speak with the players further in the morning.

If the players speak with the Wachter brothers, Nikolai and Karl are wary at first, but happy (if prodded) to rant about:

• the Festival of the Blazing Sun,
• Vallaki's recent history of festivals,
• the Baron's response to those who speak ill of the festivals, and
• the flashes of purple light that have been seen from the attic of N3. Burgomaster's Mansion

(See Vallaki Lore (p. 96)). Once the players have won the brothers' trust, the conversation proceeds as described in N2c. Taproom.

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).

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.

Any player who watches as Rictavio makes his way along N2j. Great Balcony sees him pass Brom and Bray, who are crouched along the balcony in front of N2o. Boys' Bedroom. (The boys are dangling the stuffed bat described in N2o. Boys' Bedroom (p. 102) over the bar below, giggling while Nikolai and Karl drunkenly swat at it. The boys used the N2i. Secret Stairs and Hall (p. 101) to scamper quietly from the kitchen to the balcony during Rictavio's tale, unseen by the inn's patrons.)

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.)

NPC Profile | Urwin & Danika Martikov

Roleplaying Information

Resonance. Urwin should make the players feel amused (due to his bad puns and dad 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 amusement, satisfaction, congeniality, thoughtfulness, concern, and hopefulness. Danika's most frequent emotions are bemusement, satisfaction, congeniality, determination, and ______ (that emotion you feel when you go "oh you!").

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 ___. Consider taking inspiration for Danika from ___.

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, NAME would.

Relationships. NAME is.

NPC Profile | Brom & Bray Martikov

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.

NPC Profile | Rictavio

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.

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.

NPC Profile | Szoldar & Yevgeni

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.

B4c. Urwin’s Request

Act II: The Shadowed Town

Act III: The Devil's Hand

Act IV: Into the West

Act V: Secrets of the Valley

Act VI: The Curse of Strahd

Author's Notes

The Storm

In the original module, it’s not uncommon for the players to mistrust Rose and Thorn’s illusions upon first meeting them. The entire setup—a pair of desperate children conveniently standing in the middle of the road when the players first arrive, and whose parents keep a monster “trapped in the basement”—feels far too convenient to be true.

While it’s technically possible for a Dungeon Master to force the players inside of the house using the Mists of Ravenloft, such overt railroading is generally bad practice and makes for a poor way to start the campaign.

This revised version aims to remove the need to railroad the players into Death House by making the scenario more believable and the house itself more enticing. To do so, it attempts to make Rose and Thorn’s story more believable and offers the house as a shelter from a nighttime storm, respectively. [Return]

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 basement 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—rather than distrust them—following the encounter with their illusory doubles outside. [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]

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