TEXT: Frog God 
  Games
  By Dennis Sustare
  By Dennis Sustare
  Pictures at an Exhibition
  Pictures at an Exhibition
  
  Frog  
  God 
  Games
  CEO
  Bill Webb
  Creative Director:  
  Swords & Wizardry
  Matthew J. Finch
  Creative Director:  
  Pathfinder Roleplaying Game
  Greg A. Vaughan
  Frog V
  Patrick N. Pilgrim
  Art Director
  Charles A. Wright
  Developers
  John Ling and  
  Patrick N. Pilgrim
  Customer Service Manager
  Krista Webb
  Zach of All Trades
  Zach Glazar
  Final Boss
  Skeeter Green
  FROG GOD GAMES IS
  Author
  Dennis Sustare
  Developer
  Patrick N. Pilgrim
  Producer
  Bill Webb
  Editor
  Jeff Harkness
  Layout and Graphic Design
  Charles A. Wright
  Front Cover Art
  Artem Shukayev
  Interior Art
  Chris McFann, Stan Morrison
  Cartography
  Alyssa Faden
  Adventures 
  Worth  
  Winning
  ©2017 Frog God Games. All rights reserved. Reproduction without the written 
  permission of the publisher is expressly forbidden. Frog God Games and the 
  Frog God Games logo is a trademark of Frog God Games. All characters, names, 
  places, items, art and text herein are copyrighted by Frog God Games, Inc. 
  The mention of or reference to any company or product in these pages is not a 
  challenge to the trademark or copyright concerned.
  Product Identity: The following items are hereby identified as Frog God Games 
  LLC’s Product Identity, as defined in the Open Game License version 1.0a, Section 1(e), and are 
  not Open Game Content: product and product line names, logos and identifying marks including 
  trade dress; artifacts; creatures; characters; stories, storylines, plots, thematic elements, 
  dialogue, incidents, language, artwork, symbols, designs, depictions, likenesses, formats, 
  poses, concepts, themes and graphic, photographic and other visual or audio representations; 
  names and descriptions of characters, spells, enchantments, personalities, teams, personas, 
  likenesses and special abilities; places, locations, environments, creatures, equipment, magical 
  or supernatural abilities or effects, logos, symbols, or graphic designs; and any other trademark 
  or registered trademark clearly identified as Product Identity. Previously released Open Game 
  Content is excluded from the above list.
  Quests of Doom 4
  Pictures at an Exhibition
  
  2
  Quests of Doom 4
  GENERAL RESOURCES 
  Swords & Wizardry Complete S&W 
  The Tome of Horrors Complete PF, S&W 
  Tome of Horrors 4 PF, S&W 
  Tome of Adventure Design
  Monstrosities S&W 
  Bill Webb’s Book of Dirty Tricks 
  Razor Coast: Fire as She Bears PF 
  Book of Lost Spells 5e, PF 
  Fifth Edition Foes 5e 
  The Tome of Blighted Horrors 5e, PF, S&W
  Book of Alchemy* 5e, PF, S&W 
  THE LOST LANDS 
  Rappan Athuk PF, S&W 
  Rappan Athuk Expansions Vol. I PF, S&W 
  The Slumbering Tsar Saga PF, S&W 
  The Black Monastery PF, S&W 
  Cyclopean Deeps Vol. I PF, S&W 
  Cyclopean Deeps Vol. II PF, S&W 
  Razor Coast PF, S&W 
  Razor Coast: Heart of the Razor PF, S&W 
  Razor Coast: Freebooter’s Guide to the Razor Coast PF, S&W 
  LL0: The Lost Lands Campaign Setting* 5e, PF, S&W
  LL1: Stoneheart Valley PF, S&W 
  LL2: The Lost City of Barakus PF, S&W 
  LL3: Sword of Air PF, S&W 
  LL4: Cults of the Sundered Kingdoms PF, S&W 
  LL5: Borderland Provinces 5e, PF, S&W
  LL6: The Northlands Saga Complete PF, S&W
  LL7: The Blight 5e, PF, S&W
  LL8: Bard’s Gate 5e, PF, S&W 
  LL9: Adventures in the Borderland Provinces 5e, PF, S&W
  QUESTS OF DOOM 
  Quests of Doom (Vol. 1) 5e 
  Quests of Doom (Vol. 2) 5e 
  Quests of Doom (includes the 5e Vol. 1 and 2, but for PF 
  and S&W only) PF, S&W 
  Quests of Doom 2 5e 
  Quests of Doom 3 5e, S&W
  Quests of Doom 4* 5e, PF, S&W
  PERILOUS VISTAS 
  Dead Man’s Chest (pdf only) PF 
  Dunes of Desolation PF 
  Fields of Blood PF 
  Mountains of Madness PF 
  Marshes of Malice PF
  Other Products from Frog God Games
  You can find these product lines and more at our website, froggodgames.com, and on the shelves of many retail game stores.  
  Superscripts indicate the available game systems: “PF” means the Pathfinder Roleplaying Game, “5e” means Fifth Edition,  
  and “S&W” means Swords & Wizardry. If there is no superscript it means that it is not specific to a single rule system.
  * (forthcoming from Frog God Games)
  
  3
  Pictures at an Exhibition
  Table of Contents
  Credits ........................................................................ p. 1
  Pictures at an Exhibition ..................................................p. 4
  Map Appendix .............................................................. p. 18 
  Legal Appendix ............................................................ p. 20
  
  4
  Quests of Doom 4
  Pictures at an Exhibition is a Swords & Wizardry adventure for parties 
  of 4–6 characters of levels 4–6. During the adventure, players control 
  characters on an exotic cruise in a parallel reality known as “the Real 
  World”. During a stopover, they find themselves on a museum tour where 
  the vivid paintings draw them into a world of fantasy. These excursions 
  involve fighting and puzzle solving to survive. The adventure originally 
  was written for play at NTRPGCon 2012.  
  Starting the Adventure
  Your cruise ship is headed for the historic resort of Mount 
  Charles, a favorite destination of jet setters, movie stars, and 
  other celebrities. The town has great shopping opportunities 
  (for the wealthy) and picturesque sightseeing. At dinner, 
  you met several other passengers who are art enthusiasts, 
  and have organized a trip to a local museum for a painting 
  exhibition. The ship will stay berthed overnight, so you have 
  plenty of time for your excursion.
  The Cruise Ship
  Your cruise ship slowly enters Moonache Bay, the harbor 
  of the Principality of Mount Charles. To port is an ancient 
  lighthouse, and beyond that the ruins of a castle on a rocky 
  prominence. To starboard, you see a cluster of white-
  plastered villas and bed-and-breakfast inns on a ridgeline 
  with a beautiful view of the sea. A tugboat arrives to help 
  nudge the ship against the commercial pier in the center of 
  the shoreline. Further to starboard, you can see the cargo 
  docks, with large cranes removing containers and arranging 
  them on the shore. In the other direction, you see a marina 
  filled with magnificent (and expensive) yachts.
  Charmingly, the old city wall still exists, curving around 
  the historic center of Mount Charles. A crewman nearby 
  informs you that cars are not allowed in the old town, due 
  to the narrow, curving streets, though there are minicabs 
  and bicycles available for use by tourists. Just then, the 
  ship’s PA system announces that a tour is about to leave 
  for the art museum, to be closely followed by an excursion 
  to the shopping district, famous for fashion clothes and 
  accessories, especially their world-famous leather goods. As 
  you head over to the gangplank, you note that only a small 
  group is assembling for the museum tour, while most of the 
  passengers seem more interested in the shopping. 
  The party, of course, will all be going on the museum tour. If any 
  character suddenly decides against it, crewmembers politely inform them 
  that the other tour groups already are filled, but that the museum tour still 
  has spots open if they hurry.
  Art Museum
  It is a short, pleasant stroll from the ship along the 
  waterfront to the museum. Some of the private yachts nearby 
  look almost large enough to be passenger liners themselves. 
  You wonder how an individual could ever make enough 
  money to buy such a luxury. At the corner, as you are passing 
  the Scorpion restaurant and bar, you see several people 
  sitting at a small table near the street, drinking some fizzy 
  beverage. Their faces seem familiar; could they be politicians, 
  movie stars, perhaps auto racers?
  Leaving the waterfront, you pass the Grand Hotel on the 
  left. The doorman bows slightly as your group passes. A little 
  farther on, you pass a high-class restaurant on the left, again 
  with a friendly doorman. The next building on the left is in an 
  old architectural style, with wrought-iron decorative grills on 
  the windows. It is also decorated with curious gargoyles that 
  look something like partly melted angels, if that makes sense. 
  They are quite grotesque, and rather scary. Your guide leads 
  the group to the entrance of this building, which proves to be 
  the art museum.
  As you enter the museum, you wonder at the richness 
  evident here. The stained-glass windows, the beautiful tile 
  floors, the elaborate chandeliers, the glowing woodwork, all 
  make it not like any art museum you have been in before. 
  When you ask about that, the guide informs you that it used 
  to be a casino many years ago, but a rich family bought the 
  building and converted it into a museum. Although the 
  permanent holdings are mostly the collection of the family, 
  they also have lively temporary exhibitions, such as the one 
  featured currently.
  Your group enters the first of two exhibit halls that hold 
  the special showing consisting of ten works by a previously 
  unknown artist. Each painting is large, done in a realistic 
  manner, with excellent foreshortening and depth. All appear 
  to be of scenes in a medieval town, and some contain fantasy 
  elements, such as humanoid creatures right out of a fairy tale. 
  The museum representative gives each of you a brief guide 
  to the paintings, and states, “You may take as much time as 
  you like touring the exhibition, but we request your party stay 
  together; no individuals wandering off, please. And please 
  stay behind the ropes, with no touching of the art. Enjoy 
  yourselves!” He then goes back to the front desk, leaving your 
  party alone in the first exhibit hall.
  Handouts: Give the players Player Handout 1 detailing the current 
  museum exhibitions.
  The Paintings
  The party is free to select a painting to examine by looking at the images 
  and reading the brief description found below and on the handout guide 
  to the exhibition. Once they make their choice, proceed to the section on 
  the selected painting in “Closer Examination.” However, if any character 
  pushes past a roped exhibit, immediately proceed to the selected painting 
  under the “Transition” section below. You may need to adjust the text 
  slightly, but the effect is the same as all of the characters are pulled into 
  the painting. 
  Pictures at an Exhibition
  
  5
  Pictures at an Exhibition
  1. Christmas Gnome
  An oddly dressed gnome kneels before a Christmas tree, arranging 
  small packages to form some sort of pattern on the floor.
  2. Old Castle
  A troubadour in clerical robes is singing before a tall tower at one end 
  of an old castle. A poorly defined person can be made out in the shadows 
  of a window high in the tower.
  3. Public Gardens
  In the gardens of a central plaza, a group of children is running about, 
  clearly very upset and agitated. A large cage is standing open and empty.
  4. Cow-Drawn Cart
  A starving cow pulls a rundown cart. Two people walking beside 
  the cart and the driver appear in pain and possibly diseased. A series of 
  obscure runes are written along the side of the cart.
  5. Chick Ballet
  On the stage of a stone amphitheater, several misshapen and distorted 
  fowl are circling about.
  6. Rich Orc, Poor Orc
  Two orcs stand nearby on a city street, one dressed in fine clothes and 
  the other in rags. Both appear frightened and anxious.
  7. Doffin Market
  In an open market, several women are arguing about something. Some 
  fruits and vegetables are scattered on the ground in front of the open stalls.
  8. Mystery Under the Cathedral
  In an underground crypt, several skulls on ledges are glowing weirdly.
  9. Hut on Chicken Legs
  A stick hut with a thatched roof is running along on giant chicken legs. 
  A witch is leaning out of the door, apparently trying to grab something on 
  the ground.
  10. Great Gate
  A ferocious battle is being waged at the gate of a walled town.
  Closer Examination 
  So long as nobody in the party passes beyond the museum rope, 
  the party may select any painting for closer examination. Read the 
  appropriate description to the characters from the selection below. As 
  soon as someone passes the rope, however, proceed to the corresponding 
  section under “Transition.” 
  1. Christmas Gnome
  As you look closely, you notice that each of the presents is 
  wrapped in a different type of wrapping paper. The gnome 
  appears to be examining the paper of one present while 
  holding it above the floor, where a pattern of lines has been 
  drawn with chalk. Some presents have been placed on the 
  chalk already, but the painting does not reveal the details of 
  the pattern below. Other presents are still in a stack below 
  the Christmas tree. Although it is just a painting, you get 
  the occasional sensation that something is moving in the 
  branches of the tree. Behind the museum rope, you are just 
  too far away to see the details clearly. 
  2. Old Castle
  As you look closely, you notice there are no guards on the 
  walls of the castle, and there appears to be a crow perched 
  on the top of the tower. The troubadour appears to be quite 
  young, and he is not holding a musical instrument, though 
  he is gripping a crumpled piece of paper. Although it is just a 
  painting, you get the occasional sensation that something is 
  moving in the vicinity of the shadowy tower window. Behind 
  the museum rope, you are just too far away to see the details 
  clearly. 
  3. Public Gardens
  As you look closely, you notice the central plaza is bordered 
  by a large cathedral and what appears to be a pub. The 
  empty cage is near the pub. A man with a music box is on 
  the ground beside the cage. The frantic children are running 
  in all directions. Although it is just a painting, you get the 
  occasional sensation that something is moving near the fallen 
  man. Behind the museum rope, you are just too far away to 
  see the details clearly.
  
  6
  Quests of Doom 4
  4. Cow-Drawn Cart
  As you look closely, you notice the people, like the cow, 
  are probably starving. The cart is stacked with their meager 
  possessions. Although it is just a painting, you get the 
  occasional sensation that something is moving in the vicinity 
  of the runes on the cart. Behind the museum rope, you are 
  just too far away to see the details clearly. 
  5. Chick Ballet
  As you look closely, you notice the misshapen chickens are 
  possibly flying rather than running, and it seems as though 
  their beaks are bloody. Although it is just a painting, you get 
  the occasional sensation that something is moving on the 
  stage within the circling chickens. Behind the museum rope, 
  you are just too far away to see the details clearly.
  6. Rich Orc, Poor Orc
  As you look closely, you notice a possible family 
  resemblance between the two orcs, or perhaps all orcs look 
  alike? Although it is just a painting, you get the occasional 
  sensation that something is moving in the hand of the poor 
  orc. Behind the museum rope, you are just too far away to see 
  the details clearly. 
  7. Doffin Market
  As you look closely, you notice the two women are tugging 
  on a large enameled copper plate. Although it is just a 
  painting, you get the occasional sensation that something is 
  moving on the surface of the plate. Behind the museum rope, 
  you are just too far away to see the details clearly.
  8. Mystery Under the Cathedral
  As you look closely, you notice several of the glowing skulls 
  appear to be biting at a long, yellowish object. Although it 
  is just a painting, you get the occasional sensation that 
  something is moving in the mandibles of several of the skulls. 
  Behind the museum rope, you are just too far away to see the 
  details clearly. 
  9. Hut on Chicken Legs
  As you look closely, you notice what the witch is grabbing; 
  it seems to be a running child. Although it is just a painting, 
  you get the occasional sensation that something is moving in 
  several places, including the hut legs, the child’s legs, and the 
  witch’s arm. Behind the museum rope, you are just too far 
  away to see the details clearly. 
  10. Great Gate
  As you look closely, you notice the gate defenders appear to 
  be losing, and the attackers are starting to come through the 
  partly open gate. This scene is exceptionally violent and graphic. 
  Although it is just a painting, you get the occasional sensation 
  that the figures in the canvas are moving. Behind the museum 
  rope, you are just too far away to see the details clearly. 
  Transition
  Read the following whenever anyone crosses beyond one of the ropes 
  protecting an exhibit.
  As you pass the rope and lean toward the painting for a 
  better look, you are suddenly pushed forward, as though a 
  strong wind is blowing you into the canvas. At the same time, 
  your body feels a confusing mix of sensations, as though you 
  are assailed by sound, light, pressure, pain, heat, cold, smells 
  and tastes, all at once. You do not strike the museum wall, but 
  rather you land (somewhat shakily) on your feet in a strange 
  place. Your clothes have all been replaced with odd new attire. 
  The items you may have been holding are gone, replaced 
  with medieval weapons that have a familiar quality to you. 
  As you look around, you see several strangers nearby that 
  seem equally confused and off balance. Curiously, the same 
  number of strangers are beside you as were accompanying 
  you on the museum tour.
  When anyone passes beyond the museum rope, the entire party is 
  drawn into the scene of the painting. At the same instant, each modern 
  day traveler is converted into the corresponding adventurer (including any 
  who died in a previous painting). The first time this happens, the Referee 
  should give the players a few moments to digest what has happened. Each 
  character retains a somewhat hazy memory of the life experiences of their 
  tourist character, but also immediately knows how to perform the skills of 
  the character (combat, magic, etc.). The Referee then starts the adventure 
  again, providing the transition description for the selected painting, as 
  given in the adventure sections that follow.
  On subsequent adventures into new paintings, any items or modifications 
  the party members acquired in previous paintings are retained, but any 
  equipment that was damaged or lost is still damaged or lost. However, 
  any wounds, diseases, or deaths suffered in previous paintings have been 
  healed. Each character fully remembers any previous painting scenarios. 
  Spellcasters that used a spell in one painting do not have that spell in mind in 
  the immediately subsequent painting, but have it back by the following one.
  Reverse Transition
  When a painting adventure is completed, by either success or failure, 
  the party returns to its starting position outside the rope in the museum, 
  back in their personas as cruise tourists. This includes any players whose 
  character might have been killed in the scenario. 
  With sensations like those when you entered the painting, 
  you find yourself back in the museum, once more outside the 
  museum rope. You are once again a healthy human cruise 
  tourist, not some fantasy creature of medieval times. You 
  have all your original tourist possessions, and nothing you 
  had while within the painting. Looking back, you see the 
  
  7
  Pictures at an Exhibition
  painting is no longer on the wall. It has been replaced with a 
  small tag reading “Painting has been temporarily removed.” 
  You remember everything that happened within the painting, 
  as crazy as it may seem to you now.
  The players may keep their character sheets and note any changes.
  Level One  
  (First Exhibit Hall)
  The First Exhibit Hall contains the following paintings.
  1. Christmas Gnome
  The party appears before a Christmas tree with wrapped 
  presents on the floor around it. A gnome dressed in 
  makeshift and ill-fitting clothes is startled when you appear. 
  He screams, drops the present he is holding, and runs out of 
  the room through the only door. The door slams behind him, 
  and you hear it being locked and bolted. His footsteps recede 
  as he runs away. 
  If an elf is in the party, that character has a 2-in-6 chance to notice that the 
  gnome was wearing elvish clothes that were clearly far too large for him.
  The room is 20ft by 20ft, with a small fireplace on one wall and the 
  single door on the opposite wall. There are no windows. Besides the 
  decorated tree, the furnishings include two easy chairs with a small table 
  between them. Warmth comes from the burning logs in the fireplace, and 
  light is also provided by the candle chandelier above. A plate of cookies is 
  on the table. Several presents are placed on a diagram drawn on the floor, 
  while others are under the tree. A piece of chalk has rolled to the side.
  The door appears securely blocked, not even budging when characters 
  try it. It is made of oak and banded iron, and seems inappropriate for a 
  holiday family room.
  The sugar cookies are tasty, but have no effect.
  The tree is decorated with fine ornaments. The ornaments have no 
  relation to the diagram or presents. Characters have a 3-in-6 chance to 
  catch some motion in the upper branches. These are two small birds in 
  the tree, a swallow and a nightingale. The nightingale trills a pretty song, 
  while the swallow remains silent.
  The present the gnome dropped is tightly wrapped in paper decorated 
  with a forest scene. Glancing at the other presents, each one is wrapped 
  in a different paper design (see present table below). None of the presents 
  has been opened.
  If characters start to unwrap a present, a nightingale perched near the 
  top of the tree becomes very agitated, and begins screaming little bird 
  screams. She flies down and tries to peck at a random character’s hand 
  before returning to the tree. A second bird, a swallow, also is frantic but 
  makes no sound. 
  Placing the Presents
  The chalk diagram looks like the drawing provided. Some of the 
  presents the gnome placed on the chalk nodes were scattered when he ran 
  out. Optionally, the Referee could leave those presents in place. See the 
  table below for initial placements; positions are numbered left to right, 
  from top to bottom.
  Wrapping
  Initial 
  Location
  Final 
  Location
  Reward
  Bowls of 
  Cherries
  Under Tree
  1
  Charisma +1
  Forest
  Dropped by 
  Gnome
  2
  Constitution +1
  Warrior 
  Shields
  Under Tree
  5
  +1 shield
  Clubs with 
  Spiked Balls
  Under Tree
  7
  +1 mace
  Battle 
  Helmets
  Under Tree
  3
  +1 helm
  Scrolls
  under tree
  4
  2 scrolls of cure 
  light wounds
  Boots
  under tree
  9
  Boots of speed
  Horseshoes
  8
  8
  luckstone
  Goblets
  11
  11
  Potion of giant 
  strength
  Dinner Forks
  Under Tree
  10
  +1 trident
  Barbells
  12
  12
  Strength +1
  Owls
  Under Tree
  6
  Wisdom +1 (or 
  Intelligence +1 
  for a magic-user)
  Objective
  It is up to the party to determine proper placement of the presents to 
  complete the scenario. The birds will not help the party place the presents. 
  If the party places the presents correctly on the diagram, the two birds 
  change back into human sisters named Philomela and Procne. They reward 
  the party by allowing each party member to draw one present. Once all of 
  the characters choose a present, this scenario ceases successfully. 
  If the party does any of the following actions before accomplishing the 
  objective, this scenario ends in failure:
  • Kills one of the birds.
  • Opens one of the presents.
  • Manages to leave the room (this proves very difficult).
  • Telling the Referee the party is giving up.
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting. See below for each result:
  Success
  As you place this last present on the diagram, the 
  nightingale gives a quick trill and you feel a strong magical 
  wave pass through the room. Both birds transform into young 
  women dressed in expensive robes, the nightingale changing 
  into Philomela and the swallow into Procne. Philomela bows 
  to you, and says, “Thank you for saving us from this curse. 
  As a small reward, each of you may select just one of these 
  presents, but you must choose before opening any of them. If 
  anyone tries to take two, you will all lose your rewards.” 
  
  8
  Quests of Doom 4
     Procne also bows to you, but says nothing. Philomela 
  continues, “Now, if I may pardon one of you to spare a 
  weapon for me, perhaps a dagger? It is time for me to pursue 
  vengeance for my sister.” 
  If characters attempt to speak to Procne, Philomela informs them that 
  her tongue was cut out. After Philomela looks around the room a little, 
  she takes any weapon given to her in one hand and, holding Procne by 
  the other hand, walks to the locked door. She taps on the door with the 
  knuckles of her weapon hand and it swings open, revealing a corridor 
  leading away. The women pass through, and the door closes behind them.
  The party may stay in the room as long as they wish to finish selecting 
  their presents. Anyone who opens their present gets their reward 
  immediately. In cases of weapons or armor, the present adjusts as needed 
  to be appropriate for the recipient; for example, a trident will be a useful 
  size, whether selected by a short halfling or a tall elf. There are no other 
  treasures in the room. The formerly barred door now opens easily. When 
  the first party member walks through the door, the entire party goes back 
  through the painting, converting to their cruise persona as explained in 
  Reverse Transition. If someone in the room still has not chosen a present, 
  they just have time to grab one at random before returning to the museum.
  2. Old Castle
  The party appears a few feet behind a young man in clerical 
  robes. You are between the outer and inner walls of a castle, 
  just below the north tower of the keep. You see no guards 
  on either the outer or the inner walls. The cleric is looking 
  up at the north tower as he sings a love ballad. His voice is 
  nothing to brag about; he is unlikely to win the Medieval 
  Idol competition. There is a narrow, darkened window near 
  the top of the tower, about 80 feet above you. Occasionally a 
  shadowy figure seems to move in the window. A large black 
  bird is perched atop the tower, but it is mostly out of sight 
  from your location, except when it leans forward to peer 
  down. The cleric does not seem to have noticed your arrival.
  Note: If the party has previously done the Chick Ballet scenario 
  (Painting 5), they recognize the young cleric as the same man.
  If the characters interrupt his serenade, the young man spins around, 
  crying, “You’ve spoiled everything!” He then begins slapping at the 
  characters. Laughter echoes down from the tower. (The princess 
  will be negative if this occurs.)
  If the characters wait for the balladeer to finish, at first the 
  young man remains gazing longingly up at the tower. A pale arm 
  reaches out from the darkness to toss something down. He is 
  startled when he realizes the party is behind him, but then he 
  dashes forward to catch what turns out to be a dried 
  flower. (The princess will be positive.) 
  Either way, the cleric quickly 
  scans the walls, and says, “Good, 
  the guards have still not returned.” 
  He then looks at you, saying, “If you 
  have romantic blood in your veins, you 
  will help us.” He points up at the dark 
  window and continues, “The princess 
  has been held there against her will, 
  and my love has remained unrequited. I 
  cannot reward you, but if you can rescue her 
  and join her with me, we will be eternally 
  grateful to you.”
  Note: If any of the characters previously 
  earned the assistance of the Raven (see the 
  adventure Tourist Traps by Frog God Games), 
  the Raven again assists the party in this scenario.
  Going Up the Tower
  Here are a few ways the characters can reach the princess:
  • Climb the outside of the tower.
  • Enter the keep and proceed up the tower’s interior.
  • Using a levitate spell or some other means to fly.
  • Obtain an assist from the Raven. The Raven offers to help only if at 
  least one of the characters previously earned his assistance at the Raven 
  Mound. In this case, the Raven flies down to the party once they complete 
  their initial conversation with the cleric.
  The Referee should judge the success of any other ideas the characters 
  may devise. 
  Any non-thief character has a 45% chance to climb the outside of the 
  tower. It takes three checks to reach the top, however. If a character fails 
  his check, he must immediately roll 1d6 to attempt to grab an outcropping 
  and save himself. A roll of 1 means the character falls, taking 1d6 points 
  of damage for each segment he has climbed (for example, 2d6 points 
  of damage halfway up the tower with his second check). To lower the 
  princess requires a long rope. If they don’t have one, they’ll have to leave 
  the tower through the interior (see Leaving the Tower). If the princess is 
  positive, she willingly allows the characters to lower her to the ground. If 
  she is negative, she screams, “Help! Intruders!” Two door guards burst 
  into the room the next turn, rush to the window, and try to defend the 
  princess.
  A character could also cast levitate or use similar magic (such as 
  boots of levitation) to enter the tower window. If the princess is positive, 
  she willingly enters the arms of the rescuer to be lowered gently to the 
  ground. If she is negative, she screams, “Help! Intruders!” Her 2 door 
  guards burst into the room the next turn, rush to the window, and try to 
  defend the princess.
  Guards (2): HD 2; HP 9, 7; AC 6[13]; Atk longsword (1d8); 
  Move 12; Save 16; AL N; CL/XP 2/30; Special: none.
  Equipment: ring mail, longsword.
  If the characters previously encountered the Raven, they may solicit 
  his aid to rescue the princess. The Raven has been a familiar presence 
  on the roof of the tower for some time. Although the princess has 
  not spoken with him, she thinks of him as being friendly, and will 
  not be fearful of him if he lands on her windowsill. Whether she 
  is positive or negative, she enjoys the trip to the ground while 
  gently held in his talons. Once on the ground, however, if she is 
  negative she will not willingly leave with the cleric.
  Characters may also try to enter through the main doors of 
  the keep. Even though there are no guards on the walls, guards 
  remain at the gates and inside the keep, and the party must 
  deal with them upon entering. Since holiday festivities 
  are in progress (which is why the walls are empty), a 
  charismatic party member may be able to convince the 
  guards that they belong inside (for each encounter, roll 
  a saving throw vs. the charisma score of the chosen party 
  
  9
  Pictures at an Exhibition
  member). Otherwise, the party has to fight its way up. In addition to the 2 
  guards inside Old Tom tower, 2 guards and 2 senior guards are at each 
  gate in a wall, and 4 senior guards are at the entrance into the keep. If the 
  alarm is raised, reinforcements arrive distributed over 2d6 rounds, with a 
  total of 12 ordinary guards and 6 senior guards.
  Characters have a couple of possible routes to enter the castle as follows:
  • Climb over the inner curtain wall (just in front of the party) and locate 
  the secret door into the keep.
  • Walk around between the two walls and pass through the gate to the 
  outer bailey (4 guards present), and then go through the gate to the inner 
  bailey (4 guards present). They must then enter the front gate to the keep 
  (4 senior guards present)
  Guards (varies): HD 2; AC 6[13]; Atk longsword (1d8); Move 
  12; Save 16; AL N; CL/XP 2/30; Special: none.
  Equipment: ring mail, longsword.
  Senior Guards (varies): HD 4; AC 4[15]; Atk longsword (1d8); 
  Move 12; Save 13; AL N; CL/XP 4/120; Special: none.
  Equipment: chainmail, shield, longsword, potion of 
  extra healing.
  General Description of the Keep
  Feel free to describe the keep’s interior details as you see fit.
  The outer and inner baileys contain several work buildings and stables 
  where the prince’s retinue perform their tasks. This includes open shops 
  for smiths, farriers, carpenters, coopers, glaziers, and others. There are no 
  residences in the baileys, and none of the buildings is placed to diminish 
  the defensive capabilities of the castle. There is a well in the inner bailey. 
  The keep itself has three towers: Cliff (southwest corner), Flag (northwest 
  corner), and Old Tom (northeast end). Old Tom has castellations and two 
  arrow slits; the other two towers do not.
  Inside the keep is a double courtyard, with windows facing in that 
  pass sunlight to the interior of the keep. The first courtyard has beds for 
  vegetables, herbs, and flowers. The second courtyard has a small well. 
  There are six doors into the inner separation between the courtyards 
  (called the center wall), that lead into pantries and storage. There are 
  also 2 secret doors in the side walls used by the servants for convenient 
  admission to the keep. At the rear of the second courtyard is a double door 
  leading to the reception room.
  In general, the keep has a ground floor (with high ceilings), second 
  floor, and third floor.
  In the side and center walls are quarters for the servants (ground floor), 
  guards (second floor), and guard officers (third floor). A few guest rooms 
  for undistinguished visitors are also on the third floor. Secret doors in the 
  side wall passages lead to circular stairways connecting all three levels.
  In the front area, the ground floor contains the keep entry room, guard 
  ready room, dog room, and castellan’s quarters. There are also secret 
  doors on either side that lead to circular stairways to the second and 
  third levels. The second floor holds the armory, a few military offices, 
  the priest’s quarters, and the hospital. There are also secret doors into the 
  two front towers. The third floor has temporary quarters for couriers, and 
  quarters for the smith, farrier, armorer, and a few other royal craftsmen.
  In the rear area, the ground floor contains the reception room, ballroom, 
  dining hall, and kitchen. There is a secret door into the rear tower (Old 
  Tom). A second secret door provides a well-concealed sally port from the 
  keep into the outer bailey. The second floor holds the prince’s quarters 
  and the map room. The third floor contains quarters for the royal family 
  and guest rooms. The chamberlain’s quarters are also here. Underground 
  beneath the rear area is the reserve pantry and a small wine cellar.
  The three towers are somewhat different in design. Cliff Tower has 
  a circular stair leading up from the second floor secret door to the roof 
  trapdoor, and has no rooms or arrow slits. Flag Tower is similar, but the 
  second floor also has a trapdoor that opens down to a small compartment 
  on the first floor. In the past, this was used for prisoner confinement. Old 
  Tom was the first stone fortification built here. It has iron ladders instead 
  of a circular stairway that leads to a room on each of the first, second, third 
  and fourth floors (these do not quite match up with the keep floors, which 
  were constructed later). Trapdoors are in each floor to provide access to 
  the ladders. There was once a ladder from the fourth floor to the tower 
  roof, but it has been removed and the roof trapdoor permanently sealed. 
  Room contents are as follow:
  • (First) Crates containing old and musty children’s clothing and toys.
  • (Second) A table, three chairs, and a cot. There are two guards here. 
  There was once an arrow slit in the western side (toward the current keep), 
  but it has been permanently sealed. 
  • (Third) A small bed, a chamber pot, and a wardrobe containing clothes 
  of the princess. There is one arrow slit, with a view of the town. This is the 
  window that the cleric was singing to.
  • (Fourth) A bookshelf crowded with books, a desk and chair, and a pad-
  ded reclining chair. There is one arrow slit, with a view of the harbor. The 
  princess may be on either the third or fourth level.
  Reaching the Room of the Princess
  If the party attacks the guards (at any location), there is a 25% chance 
  each round that they sound the alarm. If the alarm sounds, reinforcements 
  arrive after 1d8 rounds. Reinforcements consist of 1d6 guards plus 1 
  senior guard. Within the keep, servants may be encountered but never 
  sound the alarm (unless attacked).
  If the party reaches the princess without killing guards and the princess 
  is positive, she willingly leaves with them, but suggests that, in view of 
  the festival, she wear a party costume and mask. In that case, no guards 
  complain when she leaves. However, if she is negative, she calls for help 
  every time the characters encounter guards, and the guards automatically 
  attack (with a 50% chance of sounding the alarm each round). If characters 
  reach the princess after killing guards, presume that she can see the blood 
  on the party. Even though she may have been positive up to that point, 
  there is still a 1-in-6 chance she turns negative upon the evidence of guard 
  killings.
  Leaving the Tower
  When leaving the tower with the princess (assuming you are going 
  down inside the keep), if she is positive she informs the characters that 
  there is a secret sally port somewhere (she does not know exactly where), 
  so that they can leave without going out the front gate. If negative, she will 
  not tell characters of the alternative exit.
  Objective
  If the party is able to bring the cleric and the princess to a common 
  location outside the castle, it is a success, even if the princess is taken 
  against her will. The Referee may decide whether taking the princess to 
  the cleric in his starting location is adequate, even though it is not outside 
  the outer wall of the castle.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • Total party kill
  • Death of the cleric or the princess
  • Refusal to assist the cleric in the rescue of the princess
  • Telling the Referee the party is giving up
  Treasure: There is no treasure in this scenario, but if the party continues 
  to demand something from the cleric, he gives the characters his amulet of 
  protection +2 (as ring of protection).  However, if a party member wears 
  this during the killing of a guard, it burns (1 point of damage per round) 
  until removed and discarded.
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  
  10
  Quests of Doom 4
  3. Public Gardens
  The party has appeared in an open plaza, with Gray’s 
  Cathedral on one side. You are at an adjacent corner, beside 
  Bad Habits Pub. Near a small outside stage, a large empty 
  cage is open. On the ground beside lays a man with a bloody 
  head. Lots of frightened children are running around, 
  screaming, “They took our bear!”.
  The man on the ground has been struck in the head, causing a serious 
  wound that is still bleeding. He still lives, but is incoherent. In pieces beside 
  him is a symphonia, a form of musical instrument with a crank on the side. 
  The crank still twitches from time to time, as though a spring inside has not 
  fully unwound. The instrument appears to be damaged beyond repair. 
  If characters question one of the children, they must first calm them 
  down enough to ask what happened. A girl answers that some bad men 
  hurt Walter and took his bear. She points in the direction of the waterfront 
  and says, “They went that way! You have to save our bear!” Another child 
  comes near, and says, “I’ll show you where they went.” He tugs on a 
  random character’s hand.
  The boy goes along one street, then another, finally passing a large 
  warehouse near the seawall. Several ships are tied up here, but hurried 
  activity can be spotted at a small sloop beside the main dock. It looks as 
  if the crew is trying to quickly get underway. You see no bear, but the boy 
  insists to the characters that the sailors are the bad men. It looks as though 
  the sloop will be ready to go to sea in just a minute or two, unless the 
  characters get on board immediately.
  A sailor is preparing to pull in the gangplank, and a sailor at the bow is 
  releasing the last line holding the ship to the dock. Characters can try to 
  stop the ship (good luck with that), or leap from the dock onto the deck. 
  Any character that tries leaping must roll below his dexterity on 3d6 or hit 
  the side of the ship (1d4 points of damage) and fall into the water. A third 
  crewman near the wheel in the stern shouts for help and draws a cutlass if 
  characters board the ship. 
   Six sailors are actually on the ship: the sailor at the bow, the sailor at 
  the gangplank, the mate at the wheel, and one sailor, one mate, and the 
  captain below deck. 
  Sailors (4): HD 1; AC 7[12]; Atk belaying pin (1d6); Move 12; 
  Save 17; AL N; CL/XP 1/15; Special: none.
  Equipment: leather armor, belaying pin.
  Mate: HD 3; AC 5[14]; Atk cutlass (1d8); Move 12; Save 15; AL 
  C; CL/XP 3/60; Special: none.
  Equipment: chainmail, cutlass.
  Captain: HD 6; AC 3[16]; Atk +1 cutlass (1d8+1) or flintlock 
  pistol (2d6); Move 12; Save 12; AL C; CL/XP 6/400; Special: 
  50% chance of firing flintlock pistol at nearest opponent.
  Equipment: plate mail, +1 cutlass, flintlock pistol (1 shot, 
  2d6 damage, save or stunned 1d6 rounds).
  Note: If you don’t want to allow firearms into your 
  campaign, remove the flintlock, or have the captain 
  drop it to the deck after firing it. It conveniently slides 
  off the deck into the water during the melee.
  The captain has a 50% chance each round after characters board the 
  ship of coming topside, accompanied by the sailor and the mate. He 
  immediately attacks the closest character, while the crewmen join in 
  the fighting.
  Sailors can be tossed overboard if two characters work together to do 
  so. Two characters must each make a successful non-weapon attack on a 
  single sailor to do so. The sailor takes no damage, but is thrown into the 
  water. He will not reboard the ship. If characters try to throw the mate 
  overboard, he has a 3-in-6 chance of escaping their grasp. If he is tossed 
  overboard, he reboards the ship in 1d4 rounds. The captain cannot be 
  tossed overboard.
  Searching the ship
  Once the sailors are dispatched, it does not take long to search the ship. 
  There is just one deck below the main deck, reaching nearly the length of 
  the ship and containing a small cargo area, a sail locker, storage for water 
  casks and food barrels, and the tiny captain’s cabin. Hammocks for the 
  crew are hung along the sides. The characters find no bear. However, a 
  man is chained to the deck just outside the captain’s cabin.
  The man has a burly build, but appears very weak. A silver chain around 
  his neck leads to a bracket in the deck. He looks up at the characters, but 
  does not say anything.
  If characters unfasten the chain from the deck, the man stands up, but 
  is wary of the party. If the characters lead him along with the chain, he 
  follows willingly. When taken topside, he smiles at the results of the battle 
  with the ship’s crew. He does not answer if characters speak with him.
  If the characters unfasten the chain from the man’s neck, he shimmers 
  then converts into a ferocious-looking bear. If the characters free him 
  below decks, he immediately attacks and tries to escape. Once above 
  deck, he realizes the characters rescued him and does not fight unless they 
  continue attacking him. 
  Treasure: The ship itself is a sizable treasure, but it does the party no 
  good in this adventure. They may collect the sailors’ weapons, and any of 
  the normal ship’s equipment and supplies they choose to carry. The ship, 
  however, could still prove useful to the characters in other adventures 
  within the paintings (see Painting 6. Rich Orc, Poor Orc for details)
  The silver chain itself is a chain that controls lycanthropes. If fastened 
  around the neck of a lycanthrope, it keeps the creature in human form and 
  docile, but unable to speak. It can be sold for 200gp. 
  Objective
  If the party rescues the bear, the adventure is a success. They can either remove 
  the chain themselves and allow the bear to leave the ship, or lead the chained man 
  back Walter, who removes the chain so the man converts into a bear.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • Total party kill
  • Death of the bear (in either form)
  • Telling the Referee the party is giving up
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  4. Cow-Drawn Cart
  The party appears in the Moho district of Mount Charles, 
  against the buildings on one side of a narrow road. A cow is 
  walking before you, hardly more than skin and bones. She is 
  slowly pulling a cart that barely holds together, rattling loudly 
  as it is hauled over the cobblestones. The driver is a woman in 
  rags who winces in pain with each bump of the wagon. Walking 
  beside the cart are a blind old man with one hand on the side 
  of the cart, followed by a young boy who repeatedly spits blood 
  on the pavement. There is barely room for the group to pass 
  through the heavy crowds, and you are forced to squeeze 
  against the building to make room. Along the side of the cart is 
  a series of carved runes, which continually shift in appearance 
  so that it is difficult to discern them with confidence.
  If characters grasp the bridle of the cow, it easily stops the forward 
  motion of the cart. The cow does not attempt to pull out of their grasp. 
  The old man says, “Why have we stopped?” The woman on the cart does 
  not reply to the characters, but continues to grimace and moan in pain, 
  holding the reins to the cow in one hand while she grips her abdomen 
  with the other. The young boy responds as if suffering from madness, not 
  answering questions but asking repeatedly for food, money, or a present. 
  The old man finally realizes the characters have halted the cow’s progress. 
  
  11
  Pictures at an Exhibition
  He looks at the characters and pleads for help for himself and his family, 
  but does not seem to understand what is the matter.
  Casting any healing spell on the cart’s occupants seems to work 
  properly, but unfortunately has no effect on their condition (the same goes 
  for healing potions). Similarly, remove curse begins to fire, but then stops 
  inexplicably (without being removed from the spellcaster’s mind or a 
  scroll). Nothing seems to change with the sickened villagers.
  Characters might try to pull the people away from the wagon, thinking 
  it the cause of their misery. But any attempt to move one of the people 
  away from the cart causes them great agony, and they fight to try to return. 
  If characters manage to get one of them more than 50ft from the cart, he 
  or she dies. Destroying the cart causes all three to die.
  When the characters examine them, they find that the runes on the side 
  of the cart shift between two forms, though it is not easy to see each form 
  distinctly. If a dwarf is in the party, he has a 3-in-6 chance to correctly 
  identify and write down each pair of runes. Without a dwarf, characters 
  have a 1-in-6 chance of correctly writing down the shapes of each pair of 
  runes, though they cannot identify their meaning.
  The old man knows nothing about the runes, and doesn’t even seem to 
  realize that they exist. He says, “What runes?” but becomes very interested 
  if they are pointed out. “What do they say?” 
  The following table shows the pairs of alternating runes, in order 
  along the cart. The party should try to figure out just what is happening 
  here. If they have no dwarf, but can describe the shape of individual 
  runes well enough to the blind old man, he tells them what each rune in 
  isolation means. Feel free to substitute other runes for these if you have 
  some alchemical favorites or are already using runes elsewhere in your 
  campaign, or are familiar with runes from some other game.
  Wagon Runes
  Rune 1
  Rune 2
  Combination 
  Meaning
  Needed to  
  Cancel Runes
  Gold
  Silver
  Wealth
  Coin, jewelry, or 
  gold and silver 
  simultaneously
  Darkness
  Wood
  Source
  Root, seed, or any 
  naturally black 
  wood such as 
  ebony
  Iron
  Water
  Energy
  Blood or rusty water
  Fire
  Water
  Confusion
  Alcohol (including 
  ale or wine) or any 
  burning liquid
  Fire
  Water
  Earth
  Air
  Gold/Sun
  Silver/Moon
  Iron/Red
  Copper/Green
  Wood/Tree
  Bone
  Spirit/Life
  Crystal
  Light/White
  Darkness/Black
  Salt
  Tin/Gray
  Runes on the Cart
  
  12
  Quests of Doom 4
  The secret of the runes is that each pair in combination reveals what is 
  needed to cancel that pair on the cart. For example, the pair that represents 
  iron and water in combination represents blood (or rusty water in a pinch). 
  Touching blood to those runes cancels them out. If the characters discuss 
  the combinations with the blind old man and seem to be getting nowhere, 
  the Referee might choose to supply a hint from the old man to help them 
  figure it out. The rune table shows which runes are in combination on the 
  cart, and what each combination means.
  Cancelling each rune pair (in any order) in turn increasingly heals the 
  cursed people (and the cow), as follows:
  One pair: The cow is healed, and unless restrained tries to pull the cart 
  more strongly.
  Two pairs: The old man is healed of his blindness. He can now tell the 
  characters the meaning of any individual rune.
  Three pairs: The boy stops spitting blood, but still seems mad.
  All four pairs: Total healing of the man, woman, boy and cow. All four 
  now seem healthy and normal. The boy apologizes to his grandfather for 
  trying to experiment with the carving of runes.
  Objective
  If the party can decipher and cancel all the runes and cure the family, the 
  adventure is a success. Optionally, the Referee may allow partial success 
  if one or more runes, but not all, are cancelled.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • Destroying the cart
  • Deaths of the old man, the boy, or the woman
  • Telling the Referee the party is giving up
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  Treasure: If the characters cancel one rune pairing, the grandfather 
  offers to inscribe one rune on a weapon for the party as a reward. This 
  single rune grants a +1 bonus to the chosen weapon. Optionally, if the old 
  man regains his sight, he instead offers to inscribe one rune for each rune 
  pair cancelled, up to a total of four; these may all be on the same weapon, 
  if desired by the party. Placing all the runes on one weapon provides an 
  additional +3 bonus vs. a chosen enemy for that single weapon (player’s 
  choice of enemy, see table below). The weapon effectively becomes +1, 
  +3 vs. the chosen enemy.
  Weapon Runes
  Rune
  +3 bonus vs. creature*
  Spirit
  Undead
  Bone
  Lycanthropes and shape-shifters
  Earth
  Giants
  Fire
  Dragons
  Copper
  Orcs and kin
  Crystal
  Dwarves and kin
  Air
  Elves and winged creatures (but not dragons)
  * Assumes all 4 runes are inscribed upon a single weapon. A single 
  inscribed rune grants a +1 bonus to a weapon, but does not allow it to 
  inflict more damage on the chosen enemy
  Once the rune or runes are inscribed, this scenario ends and the party 
  returns to the museum.
  5. Chick Ballet
  The party appears beside the lowest seats of a stone 
  amphitheater. About 30 feet ahead of you is the front of the 
  stone stage. In the center of the stage, a young man is cowering, 
  his face and arms seemingly badly clawed and bleeding. Trying 
  to protect the young man is an elderly gentleman dressed in a 
  dramatic costume, apparently an actor. He is waving a stage 
  sword at six harpies who scream and dive in attempts to reach 
  the young man. None of the harpies appears wounded, as 
  indeed is also the case for the old actor. This is perhaps some 
  play in progress, although you see no spectators in the stands.
  Note: If the party has previously completed the Old Castle scenario 
  (Painting 2), they recognize the young cleric as the same man.
  If the characters simply stand and watch the performance, every so 
  often they see one of the harpies manage to snatch at the flesh of the 
  young man with their talons, injuring him further. Despite the threat, the 
  actor and the harpies are not hurting each other.
  The 6 harpies ignore the characters unless they jump onto the stage 
  to attack. They then turn their attacks on the party. When only one harpy 
  remains, she soars high above the party, empties her stomach on them in a 
  disgusting spew, and flies off, screaming loudly.
  Harpies (6): HD 3; HP 21, 19x2, 18, 17, 15; AC 7[12]; Atk 2 
  talons (1d3 plus charm), serrated dagger (1d4+1); Move 6 
  (fly 18); Save 14; AL C; CL/XP 4/120; Special: flight, charm 
  touch and song (save avoids).
  Once the harpies are dead or driven off, the characters have a brief 
  chance to talk with the targets of their attack. The young man is a cleric 
  
  13
  Pictures at an Exhibition
  who is interested in acting and poetry, while the old man has been an actor 
  for many years. In fact, the actor is an actual ghost, which is why he was 
  unable to harm the harpies (or be harmed by them). If the characters ask 
  him for advice, the actor tells them how to distinguish ghosts, wights, 
  wraiths and vampires (this could be handy in Painting 8). After just a 
  minute or two, a shout sounds from stage left, and the party immediately 
  experiences a Reverse Transition back to the museum.
  Treasure: The cleric gives the party a vial of holy water.
  Objective
  If the party slays or drives off the harpies, the adventure is a success.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • Total party kill
  • Death of the young man
  • Telling the Referee the party is giving up
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  Level Two  
  (Second Exhibit Hall)
  The following paintings are found in the second exhibit hall.
  6. Rich Orc, Poor Orc
  The party has appeared on a city street, in front of a shop 
  with a smashed window and broken door. There is vile anti-
  orc graffiti painted on the wall. Two orcs cringe in fear when 
  you appear, but then both rush toward you and beg for you to 
  take them out of the city. One orc is dressed in fine clothes, 
  and the other is dressed in rags. When they rush forward, 
  you see that the orc in rags is holding the hand of a small 
  child who was hiding behind him when you arrived, and still 
  is cowering mostly out of sight.
  Note: This scenario, more than most of the others, could be built into a 
  campaign setup. Create a backstory for the persecution of the orcs, perhaps 
  a political faction that is using them as a scapegoat for the problems of 
  society. The party’s involvement with the rescue of the orcs could last 
  over numerous game sessions, and go beyond simply carrying the orcs 
  out of town. 
  If the characters talk to the rich orc, he looks them up and down, 
  surprised they are talking to him. Finally, he decides they are actually 
  concerned and nods. “Just look what those terrible people did to my 
  shop,” he says, pointing to the broken window. “They said that when they 
  come back tonight, they will burn what remains, and me, too. Smuggle me 
  out of the city and I will reward you richly.” If the party asks how richly, 
  the rich orc whispers, “Get me and two chests of mine out and I will pay 
  you 4000 pieces of gold.”
  If the characters talk to the poor orc, he speaks quietly to the party, his 
  voice choked with emotion. “My family has suffered greatly, and I fear for 
  their lives. Please, O great ones, show your divine nature and smuggle us 
  out of the city.” If the party demands some sort of reward for taking the 
  risk of smuggling them out, the poor orc says, “Alas, I have nothing.” He 
  thinks for a moment before continuing, “But you may take one of us as a 
  slave in payment.”
  It’s up the characters at this point what they want to do. 
  Note: The Referee should consider allowing members of the party to 
  make saving throws versus both of the orc’s charisma scores. If anyone 
  beats either of the orc’s scores, provide the party with more details 
  about them. This provides the opportunity to flesh out the orcs and their 
  motivations and personalities. Be creative, give it a twist, or use the 
  opportunity to draw the characters in and deepen their investment in the 
  decision they must make between the rich orc and his gold, or the poor orc 
  and his entire family.
  If they decide to smuggle the rich orc out of the city: The rich orc 
  has two chests of valuables that must also be smuggled out of town. One 
  of these contains a collection of rare books, including some orc religious 
  texts. The other contains some transportable valuables, including fine 
  clothes, gold and silver jewelry and decorative ware, and some small 
  works of art. Smuggling the rich orc is perhaps the easier task, since there 
  should be less problem getting the two chests out (though if a city guard 
  looks inside, there might be problems; normally the guards look more 
  carefully at what comes into the city than what leaves). So there is only a 
  single orc to conceal and get out.
  If they decide to smuggle the poor orc out of the city: The poor orc 
  has virtually no possessions, but does have a family that must also be 
  smuggled out. The family includes his wife and her aging mother, as well 
  as five children ranging in age from 1 to 14. It will be tricky for all these 
  orcs to be concealed and carried out without revealing their presence to 
  the gate guards, especially since it must be done in a manner that provides 
  safe transport. For example, the characters can’t just seal them all up in 
  ale barrels (though they might be able to move a couple of them in that 
  manner, this would not work for the 1-year-old or the grandmother). Note 
  that it is against the law for the orcs to leave their ghetto in town.
  No matter what the characters decide, they must face 2 guards and 1 
  senior guard at each of the 3 gates leading out of the city (either through 
  the main gate or down to the docks). The guards are diligent about 
  stopping people entering the city, but less likely to stop characters on their 
  way out. At each gate, the guards have a 2-in-6 chance to randomly step 
  in front of the characters and demand to know their business. The guards 
  are more interested in flaunting their authority on hapless citizens than 
  searching random crates, but you don’t have to let the players know this. 
  Play up the tense situation as the guards eye the characters and any items 
  they carry. Depending on the how the characters react, the guards could 
  either let them pass or ask to see their papers (and request to search their 
  belongings).
  The characters could attack the guards, but this causes a riot as panicked 
  citizens race for cover. This draws 2d6 guards and 1d4 senior guards to 
  the scene within 1d6+2 rounds. The guards fight to subdue the characters, 
  but aim to kill if any of the orcs join the fray (or are discovered during 
  the melee). The family of the poor orc has a 3-in-6 chance of emerging if 
  hidden as they try to escape.
  Characters could instead try to bribe the guards to ignore any items such 
  as trunks or barrels that might hide the orcs. This requires at least 1gp per 
  item carried (which could get expensive if they are smuggling the poor orc 
  family out of town in many containers). They could also try to sweet talk 
  their way clear. This requires a character to make a saving throw vs. his 
  charisma score to convince the guard to let them pass with trouble. Failure 
  means the guards turn the characters back, which forces them to cross the 
  city to a different gate (with a 1-in-6 chance of encountering a random 
  patrol of 2 guards).
  The Referee should judge the guards’ reactions based on what method 
  the characters use to sneak the orcs out of the city.
  Guards (varies): HD 2; AC 6[13]; Atk longsword (1d8); Move 
  12; Save 16; AL N; CL/XP 2/30; Special: none.
  Equipment: ring mail, longsword.
  Senior Guards (varies): HD 4; AC 4[15]; Atk longsword (1d8); 
  Move 12; Save 13; AL N; CL/XP 4/120; Special: none.
  Equipment: chainmail, shield, longsword, potion of 
  extra healing.
  Note: If the party successfully captured the ship previously in the Public 
  Gardens painting (Painting 3), there is an easy way for them to win this 
  one, if they think of it. The party could lead the orcs to the ship chained as 
  slaves, or have the orcs carry cargo as common laborers. The characters 
  could then hide the orcs on board and sail freely out of the harbor with 
  none of the orcs visible.
  Treasure: If the characters smuggle out the rich orc and his two chests, 
  
  14
  Quests of Doom 4
  he gives the party 4000gp (1000gp less for each chest that does not get 
  smuggled out). If they smuggle out the poor orc and his entire family, he 
  repeats that he has no treasure to give, but in gratitude he offers one family 
  member as a slave. If the party accepts this deal, any character wearing a 
  protection amulet is immediately burned for 1 point of damage per round 
  until it is removed. 
  Objective
  If the party smuggles either of the orcs from the town, it is a minor 
  success. Award the party 500 XP. If the party can smuggle both orcs out 
  (including the poor orc’s family), it is a major success. Award the party 
  1000 XP.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • Total party kill
  • Death or imprisonment of both orcs
  • Telling the Referee the party is giving up
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  7. Doffin Market
  The party has appeared in the Doffin Market, just in 
  front of two women that are pulling on opposite sides of 
  an enameled copper plate. A small crowd has gathered to 
  watch the argument, some of them cheering on one woman 
  and some the other. At this point, they are only yelling and 
  pulling on the plate, but an actual fight may break out at 
  any moment. Already, they have bumped into some of the 
  vegetable stands, knocking produce to the ground.
  One of the bystanders approaches the best armored of your 
  party and says, “Thank goodness, Your Honor, please resolve 
  this conflict before they trash the market. They will listen to 
  you.” The women stop shouting temporarily, and look in your 
  direction, though neither one releases her hold on the plate.
  If the characters ask what is going on, the women — in unison — claim 
  the plate is theirs, and ask the party spokesman to make the other give it 
  up. They talk over one another, but can be silenced and made to talk one at 
  a time if characters demand it. They give the following accounts.
  Florinda, the fruit seller (wearing a red skirt and pink blouse), says 
  “The plate was my mother’s, and she gave it to me, saying it will bring me 
  luck in the market.” 
  Griselda, the sausage vendor (wearing a brown skirt, white blouse, and 
  white apron), says “No, the plate was my grandfather’s, and he willed it 
  to me upon his death.”
  The plate is heavy, about 18in across, and made of copper. The hand-
  painted enamel work is skillfully done, with a background showing 
  a bamboo lattice on a dark blue ground. Four round insets show small 
  painted scenes, apparently different views of a rustic country village. The 
  four scenes depict the following:
  • In the first, several children are flying kites
  • In the second, a family sits down for a meal at an outside trestle table 
  with benches beside it
  • In the third, a dog is chasing several ducks near a pond
  • In the fourth, a woman weeps near a graveyard
  When you look at the scenes closely, they are static, but as you glance 
  away, there seems to be motion in the scenes, such as some fluttering 
  of the kites, or wing flapping of the running ducks. In fact, this sense 
  of motion reminds you of some paintings you think you once saw in a 
  museum. 
  Florinda explains the scenes on the plate as follows: “These all show 
  the influence of luck in your life, and how fate is out of your control. Here, 
  whether the kites fly depends on the vagaries of the wind, which none can 
  know. Here, you never know if food will be there the next day. Here, war 
  may erupt and you must flee for your lives. And here, even if you lead a 
  good life, death can step in and punish you.”
  Griselda explains the scenes on the plate as follows: “These are all 
  scenes from my grandfather’s village. He and his brothers played with 
  kites as children, and they always had abundant food to eat. This is actually 
  his pet dog, named Suniukas, and this is his mother, crying at his father’s 
  grave. My grandfather painted this plate, and wanted me to have it.”
  Below are some actions the characters might take to decide who should 
  claim the plate. The Referee should be creative if the party asks other 
  questions of the women or the bystanders. Without being too obvious 
  about it, the truth is that the plate belongs to Griselda, but Florinda really 
  believes the plate brings good luck, and she wants it.
  Offer to flip a coin, with the plate going to the winner?: Florinda would 
  accept that, saying “Luck will bring me the plate!” But Griselda would not, 
  saying “No, that is not fair, because the plate truly belongs to me.” 
  Offer to pay one woman 10gp, and give the plate to the other?: 
  Florinda says, “Make it 20 gold and it’s a deal!” But Griselda says, “Not 
  for any amount of money would I give it up, the plate is a family treasure.”
  Use Solomon’s approach, and offer to break the plate in two and 
  give half to each woman?: Florinda says, “No, that’s stupid, the plate 
  would be worthless then,” while Griselda falls to her knees and pleads, 
  “No, please don’t break the plate.”
  Ask Griselda about her grandfather’s other paintings?: She says, 
  “He painted several large works that he sold to the Baron, in exchange for 
  our land and livestock. He always claimed they showed the future, but we 
  kids knew better, of course.”
  Treasure: If the plate is returned to the rightful owner, the party gains 
  3 points of wisdom that they can distribute as they see fit (1 point each to 
  three people, all 3 to one person, or a division of 2 and 1).
  Objective
  If the party can obtain the evidence of the proper ownership of the plate, 
  and return it to that owner, it is a success. It is also a success if it goes to 
  the right person even without the party having a clue.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • The plate is destroyed
  • The party decides to keep the plate themselves
  • The plate is given to the wrong person
  • Telling the Referee the party is giving up
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  8. Mystery Under the Cathedral
  The party appears in the crypt under Gray’s Cathedral, in 
  a chamber that held the remains of church notables. Their 
  massive sarcophagi have been pushed from their resting 
  places, and their lids dislodged. A handsome man in a yellow 
  silk robe writhes on the floor as he numerous glowing skulls 
  bite him. Other glowing skulls resting on ledges mounted on 
  the walls seem to be chanting in unison.
  The man being bitten is a vampire. The bites damage him, but he is 
  regenerating 2hp per round. The 7 biting skulls are those of holy men 
  buried in the sarcophagi. Characters who have completed Chick Ballet 
  (Painting 5) have a 3-in-6 chance of recognizing the man as a vampire 
  if they state they are examining him. A cleric also has a 2-in-6 chance to 
  determine that the skulls’ chant is a continual invocation against evil.
  Biting Skulls (7): HD 4; HP 25, 23x3, 22, 20x2; AC 5[14]; Atk 
  bite (1d4 plus charm); Move 9; Save 13; AL N; CL/XP 5/240; 
  Special: immune to turning, +1 or better magical weapon to 
  hit, complete restoration (1 hour after destruction).
  
  15
  Pictures at an Exhibition
   
  Striking a skull with a non-magical weapon dislodges it from biting and 
  casts it aside, but it returns to the fight in 1d3 rounds. Throwing holy water 
  on a skull causes it to stop biting and move away from the fight, shaking 
  vigorously, but does not destroy the skull. It returns to the fight in 1d6+1 
  rounds. If a skull is destroyed, the broken bits jitter wildly and eventually 
  begin to reform. After 1 hour, the pieces knit together and the skull returns 
  to normal. 
  Clerics attempting to turn the skulls automatically fail, but the attempt 
  causes the skulls on the ledges to glow more brightly. The cleric must 
  make a saving throw or flee the chamber in fear for 1d4 rounds.
  If the party destroys all the biting skulls, the man stands up, sweeps 
  all the chanting skulls off their ledges, permanently destroying them, 
  and thanks the party for their assistance. He regains some of his normal 
  abilities each round. If he fully recovers (this takes 1d6+2 rounds), he 
  attacks the party, drawing on all of his normal vampire abilities.
  Vampire (Restored): HD 7; HP 50; AC 2[17]; Atk bite (1d10 
  plus level drain); Move 12 (fly 18); Save 9; AL C; CL/XP 
  9/1100; Special: charm person (gaze, –2 save), gaseous 
  form, level drain (2 levels), +1 or better magical weapon to 
  hit, regenerate (3hp/round), shape change (bat), summon 
  bats or wolves (3d6).
  Equipment: yellow diamond ring (2000gp).
  If the characters instead aid the skulls and attack the vampire, he 
  fights back, but the chanting skulls have drained his impressive abilities. 
  The skulls continue to deliver 1d4+3 points of damage per round to the 
  vampire in addition to whatever damage the characters inflict. Characters 
  need magical weapons to hit the vampire. Throwing holy water on the 
  vampire does 1d4 points of damage.
  Vampire (Weakened): HD 7; HP 50 (currently 27); AC 2[17]; 
  Atk bite (1d10); Move 12 (fly 18); Save 9; AL C; CL/XP 9/1100; 
  Special: +1 or better magical weapon to hit, regenerate 
  (2hp/round).
  Equipment: yellow diamond ring (2000gp).
  If the party destroys the vampire, the skulls on the ledges stop chanting, 
  and the others stop biting and stay motionless on the floor of the chamber. 
  A low murmur comes from the skulls on the floor, however, but this sound 
  is not obvious to the party unless someone examines a skull more closely. 
  When someone approaches a sarcophagus, the skulls rattle on the floor, 
  and the murmur grows louder.
  If a character picks up one of the skulls from the floor and holds it to 
  his ear, the skull whispers a phrase repeatedly. See the table below for the 
  skulls’ utterances. To complete the adventure and return to the museum, the 
  characters must return the skulls to the correct sarcophagi. Each sarcophagus 
  contains a skeleton, disturbed from its resting position and missing its 
  skull. A wooden plaque at the foot of each sarcophagus bears a name and 
  description that should help characters determine the correct placement.
  Matching Skulls
  Sarcophagus
  Plaque Words
  Skull Utterance
  1
  Saint Matilda
  You have the 
  blessings of Matilda
  2
  High Priest Paulus
  Please return these 
  holy warriors to their 
  resting places
  3
  Saint Carlos, 
  Defender of the 
  Faith
  You have the 
  blessings of Carlos
  4
  Father Damien, 
  protector of lepers
  May you be ever 
  healed
  5
  Father William, 
  protector of the 
  homeless
  May you be ever 
  sheltered
  6
  Sister Mary 
  Catherine, protector 
  of newborns
  May you be ever 
  cared for
  7
  Father Donatello, 
  protector of sea life
  May you be lifted by 
  the moon’s swells
  Treasure: If all of the skulls are returned to their proper resting places, 
  the high priest’s skull begins intoning a blessing that fills the chamber. 
  This blessing turns any water in canteens or waterskins into holy water 
  (although it is still usable as drinking water).
  Objective
  If the party slays or drives off the vampire, it is a minor success. Award 
  the characters 500 XP. If they also return the skulls to their proper bodies, 
  it is a major success. Award them 1000 XP.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • Total party kill
  • Destruction of all the biting skulls
  • Telling the Referee the party is giving up
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  
  16
  Quests of Doom 4
  9. Hut on Chicken Legs
  The party appears near a village of crude shacks. A stick hut 
  with a thatched roof is running along on giant chicken legs. A 
  witch is leaning out of the door, trying to grab a running child 
  on the ground. Other children are fleeing in all directions. 
  It looks as if two children are already in the hut, standing 
  motionless.
  As the characters watch, the witch grabs the girl and pulls her into the 
  hut. She now stands motionless next to the other two children. The witch 
  glances at the characters then begins chasing another child.
  If the characters attack the witch or the hut, she stops trying to catch the 
  child, and the hut runs toward the characters, clawing with one of its legs. 
  The witch remains in the hut and receives a +3 AC bonus as long as the 
  hut is alive. If the party kills the witch, the hut stops moving. The hut can 
  be damaged with weapons or fire. If the party kills the hut, the witch grabs 
  her broom and quickly flies away, leaving the tenderized children behind.
  Witch: HD 8; HP 49; AC 7[12] (or 4[15] inside the hut) or 2[17] 
  (missile) and 4[15] (melee) from shield spell; Atk thrown knife 
  (1d4) or touch (tenderize); Move 12 (fly 18); Save 6; AL C; CL/
  XP 8/800; Special: spells (4/2/2), tenderize (8/day, save or 
  paralyzed, 1hp damage/round, save resists).
  Spells: 1st—charm person, magic missile (x2), shield; 
  2nd—phantasmal force (x2); 3rd—hold person, 
  protection from normal missiles.
  Note: The witch’s touch causes the muscles of the 
  target to freeze up as digestive enzymes begin to 
  break down their body. The target is paralyzed and 
  takes 1hp of damage per round until it has but 1hp 
  remaining. The witch can do this 8 times per day. 
  She calls it “tenderizing” her prey. Remove curse or a 
  healing potion (poured on the immobile victim) ends 
  the effects. The witch has already used the ability three 
  times to immobilize the children in the hut.
  Hut: HD 8; HP 54; AC 6[13]; Atk giant claw (1d8); Move 16 (30ft 
  leap); Save 8; AL N; CL/XP 9/1100; Special: jump (30ft leap).
  Treasure: Inside the hut is 2000gp in a silver coffer (25gp).
  Objective
  If the party slays the witch or drives her off while saving all the 
  tenderized children, the adventure is a success.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • Total party killed or tenderized
  • Telling the Referee the party is giving up
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  10. Great Gate
  The party appears just inside Ramsgate amid the 
  commotion of a war. One gate is open, one is closed, and the 
  portcullis is up. The defenders are being slowly forced back 
  as the attackers push in through the open gate. There have 
  already been casualties on both sides. Clara, a strawberry 
  blond in a white robe, grabs the leading member of your 
  party and gasps, “You need to drop the portcullis and close 
  the gates, or we are lost! Hurry! Go now!” She then grabs one 
  of the wounded defenders by his feet and begins to drag him 
  back from the battle. Most of the defenders wear a badge of a 
  mountain with a crown floating above it. Most of the attackers 
  are wearing either blue or black ribbons tied around their 
  neck or upper arm. All the combatants you see are human.
  The points of the portcullis poke out the top of the gate opening. It 
  is fully retracted, but no obvious mechanisms are nearby for raising or 
  lowering it. However, a guardhouse is against the wall beside the gate. 
  Getting to the gatehouse requires fighting through a mass of combatants 
  wearing blue or black ribbons. Standing before the characters are 2d4+2 
  black ribbon fighters, and 1d3+2 blue ribbon fighters. Some of the blue 
  ribbon warriors hang back and fire light crossbows when they have a clear 
  shot.
  Fighter (Black Ribbon) (varies): HD 1; AC 7[12]; Atk short 
  sword (1d6); Move 12; Save 17; AL N; CL/XP 1/15; Special: 
  none.
  Equipment: leather, short sword.
  Fighter (Blue Ribbon) (varies): HD 3; AC 5[14]; Atk longsword 
  (1d8) or light crossbow (1d4+1); Move 12; Save 14; AL N; CL/
  XP 3/60; Special: none.
  Equipment: chainmail, longsword, light crossbow with 
  20 bolts, potion of healing.
  If characters don’t immediately try to get to the gatehouse, another mob 
  of combatants similar to the first wave enters the melee. Characters face a 
  never-ending mass of fighters until they successfully lower the portcullis. 
  Getting into the gatehouse requires a character making an Open Doors 
  check to pull open a gate barring entry. Once inside, only one defender still 
  stands, a dwarf warrior in full plate and shield, wielding a warhammer. Six 
  men with blue ribbons and one in chainmail with a blue and white ribbon 
  face off against him. The dwarf has been wounded several times but is still 
  fighting strongly. A closed door is set in the wall behind him.
  Gharn (Dwarf Ftr10): HP 68; AC –1[20]; Atk +1 warhammer 
  (1d4+4); Move 9; Save 5; AL L; CL/XP 10/1400; Special: 
  detect stonework, multiple attacks (10) vs. creatures with 
  1 or fewer HD, +4 save vs. magic, +2 to hit and damage 
  strength bonus.
  Equipment: +1 plate mail, +2 shield, +1 warhammer. 
  Fighter (Blue Ribbon) (6): HD 3; HP 21, 20x2, 19, 17x2; AC 
  5[14]; Atk longsword (1d8) or light crossbow (1d4+1); Move 
  12; Save 14; AL N; CL/XP 3/60; Special: none.
  
  17
  Pictures at an Exhibition
  Equipment: chainmail, longsword, light crossbow with 
  20 bolts, potion of healing.
  Commander (Blue/White Ribbon): HD 6; HP 41; AC 3[16]; Atk 
  longsword (1d8+2); Move 12; Save 11; AL N; CL/XP 6/400; 
  Special: +2 to hit and damage strength bonus.
  Equipment: chainmail, longsword, ring of regeneration.
  You must be flexible in this encounter. The mechanism for the portcullis 
  is through the closed door, but if the party just tries to get in there at once, 
  Gharn assumes they are part of the attacking force and fights the characters 
  as well. But if the party just tries to fight the attackers with ribbons, more 
  eventually come in through the guardhouse door and join the fight. The 
  characters have to convince Gharn they are friends, but not waste too 
  much time with fighting instead of getting to the portcullis controls. Once 
  they get past the door, a simple release drops the portcullis. Healing Gharn 
  helps sway his opinions of the characters’ intentions, but as soon as the 
  attackers see a cleric helping the dwarf, they turn to attack him. Once the 
  party drops the portcullis, they can come back out and help the dwarf clear 
  the guardhouse, for no new attackers will be coming through the gate. The 
  defenders of the city gradually defeat the remaining attackers inside the 
  gate, whether the characters get involved or not.
  If at any time the characters instead flee the fighting, they must run 
  deeper into the town to escape. After several turns in the narrow streets, 
  their vision clouds, and they find themselves back in the museum.
  Objective
  If the party clears the guardhouse and drops the portcullis, the adventure 
  is a success.
  If any of the following actions occur before accomplishing the objective, 
  this scenario ends in failure:
  • Total party kill
  • The party attacks the dwarf defender and kills him
  • Party leaves the vicinity of the gate and guardhouse (running away)
  • Telling the Referee the party is giving up
  With a success or failure, the party undergoes Reverse Transition and 
  leaves the painting.
  Concluding the Adventure
  When the characters clear the final painting and return, they find 
  themselves back in the empty museum hall, tourists once again. All of the 
  exhibits now bear signs stating that they have been temporarily removed. 
  A museum guard rushes up as you wander through the 
  empty exhibit hall. “Folks? You shouldn’t be here. The 
  museum is closed for the evening.” The guard ushers you out 
  of the building quickly, locking the front door behind you. 
  It is early evening in Mount Charles, and revelers throng 
  the streets, dancing merrily down the lanes. The cruise ship 
  still sits in the harbor, waiting for you at the dock. When 
  you finally make your way back, a porter greets them at the 
  gangplank. “Did you fine passengers have an interesting 
  visit?” he asks. He gives you all a knowing wink and a tip of 
  his hat as you board.
  Player Handout 1
  First Exhibit Hall
  The following paintings are found on the first floor of the museum.
  1. Christmas Gnome
  An oddly dressed gnome kneels before a Christmas tree, arranging 
  small packages to form some sort of pattern on the floor.
  2. Old Castle
  A troubadour in clerical robes is singing before a tall tower at one end 
  of an old castle. A poorly defined person can be made out in the shadows 
  of a window high in the tower.
  3. Public Gardens
  In the gardens of a central plaza, a group of children is running about, 
  clearly very upset and agitated. A large cage is standing open and empty.
  4. Cow-Drawn Cart
  A starving cow pulls a rundown cart. Two people walking beside 
  the cart and the driver appear in pain and possibly diseased. A series of 
  obscure runes are written along the side of the cart.
  5. Chick Ballet
  On the stage of a stone amphitheater, several misshapen and distorted 
  fowl are circling about.
  Second Exhibit Hall
  The following paintings are found on the second floor of the museum.
  6. Rich Orc, Poor Orc
  Two orcs stand nearby on a city street, one dressed in fine clothes and 
  the other in rags. Both appear frightened and anxious.
  7. Doffin Market
  In an open market, several women are arguing about something. Some 
  fruits and vegetables are scattered on the ground in front of the open stalls.
  8. Mystery Under the Cathedral
  In an underground crypt, several skulls on ledges are glowing weirdly.
  9. Hut on Chicken Legs
  A stick hut with a thatched roof is running along on giant chicken legs. 
  A witch is leaning out of the door, apparently trying to grab something on 
  the ground.
  10. Great Gate
  A ferocious battle is being waged at the gate of a walled town.
  
  18
  Quests of Doom 4
  Chalk Diagram
  
  19
  Pictures at an Exhibition
  
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  15. COPYRIGHT NOTICE
  Open Game License v 1.0a Copyright 2000, Wizards of the Coast, Inc.
  System Reference Document Copyright 2003, Wizards of the Coast, Inc.; Authors Jon-
  athan Tweet, Monte Cook, Skip Williams, based on original material by E. Gary Gygax 
  and Dave Arneson.
  Swords & Wizardry Core Rules, Copyright 2008, Matthew J. Finch
  Swords & Wizardry Complete Rules, Copyright 2010, Matthew J. Finch
  Swords & Wizardry Monstrosities, Copyright 2013, Matthew J. Finch
  The Tome of Horrors Complete, Copyright 2011, Necromancer Games, Inc., 
  published and distributed by Frog God Games; Author Scott Green. 
  Pathfinder Roleplaying Game Core Rulebook © 2009, Paizo Publishing, LLC; 
  Authors: Jason Bulmahn, based on material by Jonathan Tweet, Monte Cook, and Skip 
  Williams. 
  Quests of Doom 4: Pictures at an Exhibition © 2017, Frog God Games, LLC;  
  Author: Dennis Sustare.
  
  25
  Pictures at an Exhibition
  Frog God 
  Games
  Quests of Doom 4
  Quests of Doom 4
  ISBN 978-1-62283-498-3
  Pictures at an Exhibition is an adventure for parties of 4–6 characters of levels 4–6.  
  During the adventure, players control characters on an exotic cruise in a parallel reality 
  known as “the Real World”. During a stopover, they find themselves on a museum  
  tour where the vivid paintings draw them into a world of fantasy.  
  These excursions involve fighting and puzzle solving to survive.  
  The adventure originally was written for play at NTRPGCon 2012.  
  Pictures at an Exhibition
  Pictures at an Exhibition
  QoD4p
  QoD4p
  
SOURCE: textdata/thevault/Swords & Wizardry/SW Adventures & Settings/Quests of Doom (SW)/Quests of Doom 4 (SW)/QoD4 Pictures at an Exhibition (SW).pdf