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COMPUTER SOFTWARE
Temple ©fApsbcti
Instruction Manual
CREDITS
Dunjon Design and Description: Jeffrey A. Johnson
Game System Design and Introduction: Jon Freeman
TRS-80 Program: James W. Connelley
Apple Program: Michael Farren; graphics by Toni Thompson; title page by
Lawrence A. Coon
Atari Program: Aric Wilmunder
IBM Program: James W. Connelley; graphics by Toni Thompson
Rules of Play: Joyce Lane
Editor: Joyce Lane and Susan W. Lee-Merrow
Playtesling: Ted Arkin, Barbara Bealer, Richard Bretschneider, Bob Cooley,
Mike Dullon, Jeff Frankenfield, Mike Frankenfield, Jon Freeman,
David Hwu, Rob Jaquith, Terry Jue, Joyce Lane, Vaso Medigovich,
Gene Rice, Wayne Russell, Elizabeth Sabado, Tony Sabado,
Rik Wilson
Art: Karen Gerving
Layout: Two Hands Advertising, Fremont, CA
Typesetting: Reeder Type, Fremont, CA
Scribner Graphic Press, Mountain View, CA
Printing: Scribner Graphic Press, Mountain View, CA
©Copyright 1982, EPYX, Inc.
1043 Kiel Court
Sunnyvale, CA 94086
Table of Contents
How to Use This Book
4
Introduction
5
How to Play
10
The Innkeeper
10
The Dunjonmaster
11
Commands
13
Fatigue
16
Experience
16
Evaluating Treasure
17
On Death and Dying
17
Monsters
18
The Adventures of Brian Hammerhand
21
The Monsters of Apshai
25
The Traps of Apshai
27
The Treasures of Apshai
28
The Chambers of the Dunjon
33
Level 1
Ll-1
Level 2
L2-1
Level 3
L3-1
Level 4
L4-1
How to Use
This Book
This Book of Lore is designed to be used with the DUNJONQUEST game,
The Temple of Apshai. Part of it tells you how to play the game and provides you
with background about the Temple and the world in which it exists. The other part
provides information that you will need while you are ploying the game.
We suggest that you read through the Introduction, "How to Play," and "The
Adventures of Brian Hammerhand" before you begin play. The Introduction will
introduce you to fantasy role playing games if you aren't already familiar with them.
If you are, the Introduction will explain the differences from other fantasy games
you may have encountered in the past. "How to Play" explains the mechanics of
play in detail. You will probably want to read through this section quickly now, then
refer to it during your first game. Don't be intimidated by its length. The length
just comes from the number of options you have available to you. Each action you
take during play is simple and natural. "The Adventures of Brian Hammerhand" is
a fun way of introducing you to our fantasy world.
After you have started play, you will need to refer to the "Chambers of the
Dunjon" section. Within the game (and as explained in the "How to Play" section)
you will find references to rooms within the dungeon. These rooms are described,
in more or less detail depending on the room, in "The Chambers of the Dunjon."
Each room is numbered so that you can look it up quickly. The sections on
monsters, traps, and treasures also provide a reference that you will need during
play. Since they are short though, you may want to look them over before entering
the dungeon so that you wiil have more of an idea of what you may find there.
Introduction
Did you grow up in the company of the Brothers Grimm, Snow White, The Red
Fairy Book, Flash Gordon serials, The Three Musketeers, the knights of the Round
Table, or any of the three versions of The Thief of Bagdad? Have you read The
Lord of the Rings, The Worm Ouroboros, The Incomplete Enchanter, or Conan
the Conqueror? Have you ever wished you could cross swords
just for fun - with
Cyrano or D'Artagnan, or stand by their sides in the chill light of dawn, awaiting the
arrival of the Cardinal's Guard? Ever wondered how you'd have done against the
Gorgon, the hydra, the bane of Heorot Hall, or the bull that walks like a man?
Would you have sailed with Sinbad or Captain Blood, sought passage on the ship of
Ishtar, or drunk of the Well at World's End? Did Aphrodite make Paris an offer
you couldn't refuse? Would you seek a red-hued maiden beneath the hurtling
moons of Barsocm, or walk the glory road with "Dr. Balsamo," knowing it might be
a one-way street?
If any or all of your answers are "yes," you're a player of role-playing games—or
you ought to be. (If your answers are all "no," you have either stepped through the
looking glass by mistake, or Fate knows your destiny better than you do.)
Role-playing games (RPGs) allow you a chance to step outside a world grown
too prosaic for magic and monsters, doomed cities and damsels in distress - . .
and enter instead a universe in which only quick wits, the strength of your sword
arm, and a strangely carved talisman around your neck may be the only things
separating you from a pharaoh's treasure —or (he mandibles of a giant mantis.
The standard (non-computer) role-playing game is not, in its commercial
incarnation, much more than a rulebook—a set of guidelines a person uses to
create a world colored by myth and legend, populated by brawny heroes, skilled
swordsmen, skulking thieves, cunning wizards, hardy Amazons, and comely
wenches, and filled with cursed treasures, spell-forged blades, flying carpets, rings
of power, loathsome beasts, dark towers, and cities that stood in the Thousand
Nights and a Night if not The Outline of History.
Role-playing games are not so much "played" as they are experienced. Instead
of manipulating an army of chessmen about an abstract but visible board, or
following a single piece around and around a well-defined track, collecting $200
every time you pass Go, in RPGs you venture into an essentially unknown world
with a single piece- your alter ego for the game, a character at home in a world of
demons and darkness, dragons and dwarves. You see with the eyes of your
character a scene described by the "author" of the adventure —and no more.
There is no board in view, no chance squares to inspect; the imaginary landscape
exists only in the notebooks of the world's creator (commonly called a referee or
dunjonmaster) and, gradually, in the imaginations of your fellow players. As you set
off in quest of fame and fortune in company with those other player/characters,
you are both a character in and a reader of an epic you are helping to create. Your
character does whatever you wish him to do, subject to his human (or near-human)
capabilities and the vagaries of chance. Fight, flee, or parley; take the high road or
low: the choice is yours. You may climb a mountain or go around it, but since at
the top may be a rock, a roc's egg, or a roc, you can find challenge and conflict
without fighting with your fellow players, who are usually (in several senses) in
the same boat.
Role-playing games can (and often do) become, for both you and your character,
a way of life. Your character does not stop exisiing at the end of a game session;
normally, you use the same character again and again until he dies for a final time
and cannot be brought back to life by even the sorcerous means typically available.
In (he meantime, he u/iil have grown richer on the treasure he (you) has accumulated
from adventure to adventure, may have purchased new and better equipment, won
magic weapons to help him fight better or protective devices to keep him safe. As
he gains experience from his adventures, he grows in power, strength, and
skill —although the mechanics and terminology of this process vary greatly from
one set of rules to another. Aside from keeping a running total of "experience
points" from one adventure to another, you need not concern yourself much with
this, since in DUNJONQUEST the computer will make the necessary adjustments
to your character.
Ordinary role-playing games require a group of reasonably experienced players,
an imaginative and knowledgeable referee/dunjon master willing to put in the
tremendous amoun! of time necessary to construe! a functioning fantasy world,
and large chunks of playing time, since the usual game session lasts four to eight
hours (although twenty-hour marathons are not unheard of). DUNJONQUEST
solves those problems by offering an already created world with enough detail
and varieiy for dozens of adven-ures. There is only a single characler—your
character —pitted against the denizens of the dunjon at any one time, but you can
play for just as long or short a period as you like, and return whenever you feel
like it. While there are greater practical limits to your actions than is usually the
case in a non-computer RPG, there are still a large number of options to
choose from.
Much of your time in the dunjon will be spent exploring the rooms, searching for
treasure, or fighting the hostile denizens there who are reluctant both to relinquish
their hoards and to allow any adventurer out of their clutches. While all monsters
in the dunjon are basically hostile, they come in various sizes, shapes and degrees
of nastiness. While one creature may go down from a single blow, another may
take half-a-dozen and remain standing.
If you (and your character) are new to RPG adventuring, you should begin wilh
the first level of the dunjon. Lower levels are progressively more dangerous,
inhabited by deadlier monsters, and their typically more enticing treasures should
be sought only after you have become more familiar with the system, and your
character has acquired experience, good equipment, and perhaps some magical aids.
Any activity in the dunjon is potentially tiring, and fatigue is a nearly constant
consideration. A young, healthy adventurer who is lightly armed and not loaded
down with treasure may trot through the dunjon at a good pace without tiring
much. A heavier load or a loss of blood caused by wounds would necessarily
reduce his pace — or force him to stop periodically to rest. If you go too slowly,
some of the dunjon's hungrier inhabitants are more likely to come across you.
Combat, of course, is a frequent occurrence, and one of the central features of
the DUNJONQUEST series is a combat system designed to mirror with some
degree of fidelity the nature of sword-and-shield fighting. Hundreds of ihings might
happen in a hand-to-hand battle: your weapon might break; you might slip in a
puddle of blood or trip over a fallen body; a shield might splinter; you might put an
arrow right into the eye socket of an otherwise nearly invulnerable beast. However,
systems which attempt to allow for huge numbers of these possibilities are tedious
at best and, because they almost necessarily overemphasize such unusual
occurrences, are statistically as inaccurate as simpler systems. Historical research,
a knowledge of various martial arts, and practical experience in the Society for
Creative Anachronism (a group of medieval enthusiasts who get together in
tournaments and similar affairs to bash each other about energetically with
authentic imitations of the weaponry of the Middle Ages) have all gone into
designing a system which, while simpler than some, is as accurate as any and far
more authenlic Ihan most. Although you cannot, in DUNJONQUEST, succeed in
chopping your own leg off (which a particularly clumsy person might in fact
manage), a great many variables of equipment, strength, coordination, skill,
practice, etc., are involved in determining the outcome of any particular battle.
Fortunately, the procedure need not concern even a first-time player, since the
computer is doing all the work.
It is, however, perhaps relevant to note that fighting for your life with a sword
and shield is, naturally, even more strenuous than running. If you (which is to say,
your character) are of average strength and are burdened down with heavy
equipment — to say nothing of the sacks of treasure you're looking for — you may
soon get so tired you can no longer defend yourself.
CHARACTERS AND EQUIPMENT
As in other role-playing games, in DUNJONQUEST the incredibly complex
factors that make up the simplest human being have been abstracted into a few
basic characteristics, rated numerically from a low of 3, through an average of 10 or
11, to a high of 18. The higher the number, the greater/higher/stronger is the
attribute. A 90 Ib. weakling might have a Strength of 6 or less, while the average
football player would have a Strength of 14 or more. These numbers are typically
obtained by rolling three dice; in this case, however, the computer generates
them randomly.
There are six basic attributes —three physical and three mental —used in
DUNJONQUEST to give a unique and distinctive character to a dunjon adventurer.
Strength, fairly obviously, is a determination of how physically strong your
character is: how much weight (of treasure and equipment) he can carry, for
instance. It also controls how heavy a weapon he can use and how much damage
one of his blows will do to whomever (or whatever) he's fighting.
Constitution is a measure of health and endurance —general physical fitness.
The higher the Constitution, the farther a character can run before collapsing, and
the more wounds he can sustain before dying. Since the ability to move or fight
withou! becoming exhausted is also largely responsible for keeping an adventurer
alive, this is perhaps the single most important attribute.
8
Dexterity is a matter of reflexes, coordination, and even eyesight. Someone with
high Dexterity has an edge in weapons use; he's more likely to hit what he's
aiming at and is better at keeping his shield between an attacking weapon, claw, or
mandible and his fragile self. Someone with a really low Dexterity might be so
clumsy he would have trouble hitting a locked door without a running start.
Intelligence is reasonably self-explanatory, although in DUNJONQUEST it is
limited to what mighi be termed left-brain intelligence: the ability to reason
logically and to express oneself verbally. In many systems (including the one on
which DUNJONQUEST is based), this is connected with the ability to work magic.
In DUNJONQUEST the major function of Intelligence is to affect a character's
ability to bargain with the innkeeper or to parley with monsters.
Intuition, the complement of Intelligence, is a measure of right-brain functions
{real and hypothetical): spatial perception, getting an answer from "inadequate"
data, an awareness of the spiritual or mystical aspects of the unverse, ESP, and
luck. Someone with a high Intuition is more likely to detect secret doors, traps,
and unpleasant surprises; with an exceptionally low Intuition a character might be
doing well to find an open doorway without a signpost.
Ego measures mental toughness and willpower. A character with a strong
Ego can more easily influence others (the innkeeper or monsters) and is more
likely to fight fiercely despite his wounds ("when the going gets tough, the tough
get going," as the saying goes). Someone with a weak Ego will not do as well when
the tide of battle turns against him.
All three physical attributes may influence your choice of equipment, which, in
DUNJONQUEST, includes five kinds of bladed weapons (swords), a bow and
arrows, five types of armor, and two different sizes of shields. Generally, the bigger,
heavier, and more expensive an item, the more effective it is, although heavier
equipment is more tiring to wear/use/carry. A larger sword is naturally capable of
doing more damage than a smaller one (though not every time), but it takes more
strength to use; a character with a low Strength is restricted to the lighter weapons.
The most powerful weapon, a greatsword, requires two hands and, consequently,
cannot be used with a shield.
Because it is not fatiguing and is, at least until a monster gets within chomping
range, the safest form of combat, firing arrows at a beastie from a distance is often
desirable. However, arrows will only hit if the monster is on a straight line
vertically or horizontally away from you, and a good sword blow may very likely
do more damage. Trying to play Robin Hood while an unpleasanl critter with
claws and teeth is chewing on your arm is also dangerous, but distance shooting
certainly saves wear and tear on the armor.
If you are hit/bit/struck, the armor you are wearing will protect you from some
damage (the daw/bite/stinger has to penetrate a layer of leather or steel to get at
the stuff that counts — your tender flesh); plate armor naturally provides much
more protection than leather. Shields make it harder for you to be hit, although a
particularly good strike/chomp may glance off the shield onto a more vulnerable
area or may even (if the monster is big enough and sufficiently hungry) take a
chunk out of the shield, the armored sleeve, and your (character's) body. A large
shield is, obviously, a bigger barrier to such incursions than a smaller one, but in
the hands of a character with high Dexterity a small shield may be nearly
as effective.
CHARACTERS FROM
OTHER GAMES
If you have played other RPGs and wish to bring one of your favorite characters
from another game into the dunjon, you are welcome to do so; instead of having
the innkeeper create a new character for you, enter the attributes of your old one.
(Note, however, that these must be within DUNJONQUEST's "human" range of
3-18.) Depending on the game system you are used to using, you can substitute
Intuition for Wisdom, Luck, or Power, and Ego for Charisma; while these are not
exact correspondences, this is the easiest method of "translation."
If you are bringing in "high-level" characters, you should be aware of certain
importanl differences between DUNJONQUEST and other systems. Neither
attributes nor "hit points" are raised wholesale with increases in experience. A
lOth-level fighter is formidable but not a Sherman tank. Also, the limits of a
microcomputer-based system do not yet permit the use of all the different sorts of
magic items you may have picked up in other games.
If you wish to buy things from the innkeeper, you should note that
DUNJONQUEST is on the silver standard. If you are used to playing on a gold
standard, please alter your gold pieces to silver and your silver to copper. (You may
reverse trie process if you wish to take DUNJONQUEST treasure back into
your usual game world.)
The upper levels of The Temple of Apshai are appropriate for lst-3rd level
characters, while the lower levels are more suited to 4th-6th level characters. Being
essentially an introductory dunjon, Apshai is not designed for still higher level
characters, although even they may find an occasional challenge within.
We invite you to project yourself into the labyrinth. See and touch the treasures,
hear and smetl the creatures that inhabit the place. Discover for yourself the
fantasy world of Apshai!
10
How To Play
It's easy to learn to play DUNJONQUEST. Since the rules of the game are
actually programmed into the computer's memory, there is very little you need to
know to play the game. There are, however, a few basic things you should be
familiar with to make the best decisions during play. The following paragraphs
describe the use of the INNKEEPER and DUNJONMASTER segments of the
game system, the commands for controlling your character, gaining experience,
evaluating treasure, and resurrecting a character who dies. The final section
describes what to expect from the monsters inhabiting the dungeon. The specific
monsters are described in more detail in the Monsters of Apshai section. You will
find that all of this becomes very clear when you play the game.
THE INNKEEPER
The INNKEEPER creates a character —your playing piece for the game. This
simply involves answering yea or nay to a series of questions put to you by
the INNKEEPER.
Generating a Character
As you enter the Inn, the INNKEEPER greets you and asks if he should create a
character for you. For your first game you'll probably want the INNKEEPER to
create one for you, so you would want to answer YEA to his question. In later
forays into the dungeon you may want to enter in characters created in other
fantasy role-playing games, or you may want to reuse a previously generated
character (see EXPERIENCE). You may take the same character into the dungeon
as often as you like, or until the character dies (see ON DEATH AND DYING).
If you have answered YEA, the INNKEEPER generates a character randomly
and displays its attributes on the screen. For example:
INTELLIGENCE
10
INTUITION
7
EGO
9
STRENGTH
14
CONSTITUTION
11
DEXTERITY
9
THOU
HAST
125 PIECES OF
CHARACTER NAME?
SILVER
11
Once you have decided on a name for yourself, all of the above information
should be written down so that you can reuse it at a later date.
Silver pieces are your spending money for the supplies you need in the dungeon.
The INNKEEPER will keep track for you of how many silver pieces you spend
until you enter the dungeon. Al thai point, the INNKEEPER forgets, so you should
make a note of how many you have left after you have purchased your equipment.
Purchasing Equipment
The INNKEEPER will query you for purchases of swords, shields, armor, a bow,
arrows, and healing salves. For each of the first three categories, several items
are listed in the order of their effectiveness, with the first item being the least
effective. For example, under armor the INNKEEPER displays the following list:
TYPE
LEATHER
RING MAIL
CHAIN MAIL
PARTIAL PLATE
FULL PLATE
WEIGHT
OFFERED PRICE
9
22
31
47
63
30
100
150
250
1000
Leather armor is the least effective type and full plate is the best. It is also true
that the more effective types of weapons and armor weigh more, which has an
effect on the amount of fatigue you expend (see FATIGUE).
Bargaining for Your Equipment
Appearing next to each item for sale is an "offered price." You can bargain with
the INNKEEPER to buy an item for less by entering a number less than the
suggested price. You can, however, only purchase those items listed. Any other
items, such as magic weapons, magic armor, and, alas, more money, have to be
found in the dungeon.
Levels of Play
By choosing which level of the dungeon you want to enter (1 to 4), you are also
choosing the difficulty level. The first level is the easiest, and each level thereafter
gets progressively harder.
THE DUNJONMASTER
Entering and Exiting the Dungeon
When you first enter the dungeon, you will be just inside the door of the first
room on that level. You will always enter a level of the dungeon at the same place.
From that point on, you are free to roam about on the level as you please. To leave
the dungeon or to move to a different level, you must first exit the dungeon, then
re-enter at the entrance to the next level. Each of the four levels of the dungeon
are described in detail in the Chambers of the Dunjon section.
12
The Display
The DUNJONMASTER both draws a map of a portion of (he dungeon and
displays your status, including the number of the room you are currently in, your
physical condition, and how much weight you are currently carrying. Part of the
display is reserved for reporting messages that are of immediate importance to
you (see Figure 1). There are a number of possible messages, and more than one
of these may appear at the same lime. These messages are self-explanatory during
play, but a few are included in Figure 1 as an example. The circled numbers in the
figure correspond to the descriptions under ihe sample display.
Figure 1.
Sample Display
© ROOM NO. 52
© WOUNDS: 100%
© FATIGUE: 100%
© WGT: 42 LBS
© MONSTER SLAIN!
CRUNCH!
© SHIELD HIT!
©
ARROWS: 23
MAG AR: 3
© ANT MAN
© TOTAL SLAIN:
21
KEY DESCRIPTION
©
This number is the number of the room you are currently in. Passageways
are also assigned room numbers.
©
Shows that, at the moment, you are not wounded. See ON DEATH
AND DYING.
©
Shows that you have all of your endurance available. See FATIGUE.
©
Shows how much weight you are carrying.
©
Lines ©, ©, and © only appear when appropriate. Line © shows that you
killed the monster you last fought wiih.
©
These two messages show how you fared during the last round of combat.
The first line shows that you hit the monster while the second shows that he
hit your shield. Again the specific messages vary with the situation. Unless
you are in combat, there will be no message here.
©
Shows how many normal and magic arrows you have left (see Attacking
with Bow).
©
Shows the name of the monster currently in contact with you. The name
shown depends on the monster type present.
®
Shows the total number of monsters you have slain in this foray.
13
COMMANDS
There are a number of keyboard commands available to you for maneuvering
your character through the dungeon. These commands are discussed below
under three major headings: movement, battle, and special commands. The
Command Card contained in your game package summarizes them and their
meanings. Make sure that the Command Card you have is applicable to your
computer type.
replacement.
Otherwise,
call
our
customer
service
department
for
a
Movement Commands
Check your Command Card, and look at Table I. This table lists all the
movement commands used for your computer type. For some versions, you
must face the direction in which you want to move by turning left, right, or
completely around (volte-face); then, you actually move when you enter the
speed (0 to 9 feet per "turn"-or per "second"). For other versions, you simply
move up, down, right, or left.
It is important to remember that the faster you move, the more tired you
become (see FATIGUE below). Since monsters cannot follow you out of a room,
you only need to "run" for short intervals. (Of course, if there is a monster in the
next room . . .)
Battle Commands
There are several commands to choose from when doing battle with monsters.
They are itemized in Table 2 on your Command Card and described below. As
always, these commands should not be followed with a carriage return.
Attaching with Sword. To attack with sword, you must be close to the
monster. When you are not within range, the DUNJONMASTER will display
the message:
TOO FAR TO HIT
and you will instead rest while the monster charges you. In some versions (e.g.,
Apple), you must be facing the monster as well.
A normal attack is a simple swing of the sword, whereas a thrust is an all out
attack. A thrust increases your chances to hit and damage the monster, but it
also makes it easier for the monster to hit you. A thrust also costs substantially
more in fatigue.
A parry helps shield you against the monster's attack while conserving fatigue,
hut it makes it more difficult for you to hit the monster. Parrying allows you to
rest without letting your guard down.
Attacking with Bow. When attacking with a bow, you must be facing (he
monster (and the further away the better, since he cannot hurt you unless he is
within the melee distance), ff you try to fire an arrow while the monster is within
striking range of you, it becomes much easier for the monster to hit you (you
cannot fend off his attack).
14
Both normal and magic arrows are good long range weapons; however, a
magic arrow is more likely to hit its target and it does more damage. Magic
arrows can only be found in the dungeon, since no one who has them is likely to
sell ihem.
Firing either type of arrow generally allows you to regain spent fatigue.
Special Commands
The special commands vary from healing yourself to attempting to talk to a
monster. Each command is itemized in Fable 3 on your Command Card and
described in the following paragraphs.
Opening Doors. Nearly every room has at least one door (also see Secret
Doors below), which must be opened before you can go through them. To open a
door, go up to within one foot of it. While facing it, give the "Open door"
command (no carriage return is needed). The door will then open, and you may
walk through it io the next room.
Once a door has been opened, it will stay opened until you go to a different
level or reinitialize the game. The door also remains open when you save the leveL
Secret Doors. Secret doors are hidden from view and must be located before
they can be opened. To locate a secret door, use the "Examine wall for secret
door" command listed in Table 3 on the Command Card. You must be facing the
wall you are examining, but you don't have to be next to it. The computer will
respond with:
NOTHING
or
A SECRET DOOR!
Do not be fooled by a "nothing" response; sometimes secret doors are only
located after the wall has been examined several times. When the secret door is
found, open it the same way you would an ordinary door.
Traps. A trap may come in any one of a number of forms ranging from darts
that spring out from a treasure chest to a pit in the floor of the room. They can be
anywhere in a room, but a room does not have to be trapped. You can search for
a trap using the command found in Table 3. As with secret doors, it is possible to
miss a trap, but again, you can search all you want. When you search for and find
a trap, its location becomes obvious, and you can usually avoid it by going
around it.
Finding Treasure. All treasures in the dungeon are described it! the
TREASURES OF APSHAI section. To find out what kind of treasure is in a
particular room, you must first move to within one foot and grab it, using the
appropriate command. (Before doing so, it may be wise to search for traps.) The
DUNJONMASTER then displays the number of that treasure which can be
referenced to the TREASURES OF APSHAI section. The DUNJONMASTER
keeps track of all your treasures for you and lists each at the end of your
adventure, back at the Inn (refer to EVALUATING TREASURE below).
Note that if you find a sword in the dungeon, you must leave behind your old
sword before you can use the new one. Swords are jealous of their possessor's
15
attentions! You always have the option of ignoring the new sword and keeping
your old one.
Dropping Treasure. If you should decide after picking up a treasure that you
don't want it, you can put it down again at any time by using the "Drop treasure"
command and then entering the number of the treasure you want to drop (see
Table 3). When dropping treasure, the number must contain two digits. For
example, to drop treasure 1, you would enter 01; to drop treasure number 19,
you type 19. Note that you cannot drop treasures that you do not have.
Hearken or Query. All characters visiting the dungeon have special listening
powers. By using the appropriate command (see Table 3), you can sense the
presence of another creature in the next room, even on the other side of a wall or
closed door. This command only works if you are facing the wall or door you
want to listen at. It is similar to the find traps and secret door commands in that
there is a percentage chance you will not hear anything, even if there really is a
monster lurking in wait for you. When this command is used, the DUNJON
MASTER tells you that you found NOTHING or you are given the name of the
lurking creature.
Speaking wiih Monsters. Speaking with monsters is another ability you have
as a traveler in the dungeon. The command (see Table 3 again) gives you a
chance to avoid fighting with a monster. If the monster is in a good mood when
you speak to it, it will tell you to pass by and leave any treasure it is guarding
untouched. However, if you then attack it or disturb the treasure, the monster
will pursue you. Bui beware! Some monsters hate all adventurers!
Healing. There are two items you may use to heal your wounds: salves and
elixirs. Either of these may be taken at any time, including during combat.
However, the monster would then get a free swin^. You can rest while you are
healing yourself.
Salves. Each salve purchasable from the INNKEEPER will heal some of the
wounds you have taken. This percentage varies depending on your character.
The DUNJONMASTER keeps track of how many you have and, upon applying
one, automatically adjusts the count remaining. You can see the change on the
WOUNDS portion of the display. If you attempt to use more salves than you
have available, the DUNJONMASTER will display the message:
NONE LEFT
Elixirs (Ylixirs). These valuable items work the same way as salves, except
they are more powerful and heal a larger percentage of your wounds. Elixirs musi
be found as treasure and cannot be purchased from the INNKEEPER. To
execute the command, hit the appropriate key found in Table 3 of your
Command Card.
16
FATIGUE
Expending Fatigue
Your fatigue rating simply determines how much energy you have at any given
time. Exceptional exertion results in spent fatigue, but what constitutes exceptional
exertion and how much fatigue you expend depends on your character. Walking
normally and firing arrows generally allow you to regain fatigue. Activities such as
running, fighting, and carrying heavy loads all cost varying amounts of energy.
The amount of energy you expend for any activity is also affected by the wounds
you have taken. The more wounded you are, the more it costs you in fatigue to
perform an activity.
If you use up more fatigue than you have (if a negative number is displayed for
FATIGUE), you fall on the floor and pant. You will not be allowed to attack or
move until you have recovered (thai is, until a positive number is displayed).
The DUNJONMASTER keeps track of and displays for you the amount of
energy you have left. Therefore, if the display reads:
FATIGUE: 100%
you have all of your energy available.
Regaining Spent Fatigue
While you cannot accumulate more energy than you started with, you can regain
previously spent energy in a variety of ways. The fastest way is to stop your
movement altogether (although this may be dangerous). You can also regain il
while firing an arrow or simply walking more slowly. Executing any of the special
commands also allows you to gain back fatigue. Each time you resi, however, you
have a chance of meeting a wandering monster (see MONSTERS).
EXPERIENCE
Each time that you successfully venture into the dungeon you acquire experience
points, which basically means you become a better and more powerful adventurer.
This number is determined for you by the DUNJONMASTER and is based on what
you accomplish while in the dungeon. Essentially, as you gain experience, you
become able to handle more difficult situations.
More specifically, you will notice improvements in your character. These
improvements come in "jumps" and may not be immediately obvious. One
improvemen! is that it becomes easier for you to hit a monster and more difficult
for the monster to hit you.
Once the program is loaded, it keeps track of your experience points on a
cumulative basis. That is, if you return to the Inn to purchase more supplies, the
DUNJONMASTER remembers how many experience points you earned on thai
adventure and adds it to the experience you get on the next adventure. The
DUNJONMASTER will continue to do this until you turn off the computer or
until you generate a new character. At that point it forgets all of your experience.
If you intend to keep a character for use in future sessions, you should make a
17
note of the final number of experience points before you turn off the computer.
This number can be re-entered at the beginning of a new session and the
DUNJONMASTER will add any new experience to that number.
EVALUATING TREASURE
Once you are safely back at the Inn, the INNKEEPER lists all of the treasure you
found during the adventure. From there you must determine the value of each
item using the treasure key in the Treasures of Apshai section and add them
together along with any money you had previously. If you intend to keep your
character for use in future sessions, you should make a note of the total so that
you can re-enter it at a later time. Likewise, you should make a record of all of your
possessions, including the number of normal and magic arrows you have left, the
type of armor and weapons you have, etc. Also note any changes in your
attributes, since these are permanent and must carry over from adventure to
adventure.
ON DEATH AND DYING
Wounds
Any time a monster attacks you, there is a chance (depending on the type of
armor you are wearing) that it will penetrate your armor and wound you. The
DUNJONMASTER keeps track of and displays how much damage you have taken
on a percentage basis. The number displayed next to WOUNDS is always the
percentage that you have left. For example, if the display reads:
WOUNDS: 90%
you are still relatively healthy because only 10% of you has been wounded.
You may heal yourself at any time with either a salve or an elixir (see Healing).
You can continue to function normally until you reach 0''<> or less (except (hat
your fatigue expenditure increases). At that point you are dead. However there is
a chance you can be "raised from the dead." The following paragraphs explain
this phenomenon in more detail.
Getting Yourself Resurrected
If after all that hard work you should find yourself dead, don't panic. All may not
yet be lost. After all, you are not the only adventurer in the dungeon and some
kind soul, having stumbled across your body lying on the floor, may drag you out
to safety and see to it that you are resurrected. Of course, for having gone to all
the trouble, he would most likely wanl something in return as a thank you.
If you should die, you may simply be eaten by a wandering monster. This is the
worst case. You may also be found by one of three characters: a dwarf, a wizard,
or a cleric, all of whom will ask for some type of payment. The DUNJONMASTER
tells you immediately which of the four cases has occurred.
Monsters. If you are found by a monster, your character and all its possessions
18
will be eaten. Fresh adventurer is considered to be a delicacy by the monsters
inhabiting the dungeon.
The Dwarf. The second worst case is to be found by Olias the Dwarf. While
he will not eat you, he will take all your money, including any gems and jewels, and
any magical items you might have. This includes magic swords, armor, and arrows.
You will be alive, but you will be very poor.
The Magic-User. Lowenthal the wizard is only slightly easier to please than
Olias. In return for your life, he will take any special magical items you might have,
leaving you with your cash, gems, jewels, weapons, and armor.
The Cleric. The fortunate ones will be found by Benedic the wandering priest.
This kind soul (if he can find his way out of the dungeon), after resurrecting you
will simply ask that you make a donation to his sect after you get back to the Inn.
MONSTERS
Alihough a complete description of the types of monsters in the dungeon is
contained in the Monsters of Apshai section, it is helpful to know that monsters
can be either fixed or wandering. With a fixed monster, each time you read in a
level of the dungeon, that monster (and ail other items) reappears exactly where it
was previously. These monsters are normally there to guard a particular treasure.
A wandering monster is generated randomly by the DUNJONMASTER and may
appear anywhere at any time on the appropriate level. You do not have to fear
running into the most powerful monsters on the first level of the dungeon. Some
discretion is used in generating them and only first level monsters are generated for
the first level of the dungeon. Don't be surprised though, if you find what first
appears to be (he same monster on more than one level and then discover it to be
tougher than you remembered.
Neither fixed nor wandering monsters ever follow you out of a room, but unless
you kill a monster, it will be waiting for you when you go back into that room.
21
The Adventures
of
Brian Hammerhand
PROLOGUE
Landfall at last!
Don't get me wrong, now, chum. Shipboard life can be enjoyable. You meet a lot
of interesting people — thieves, exiles, fugitives, and the like — most of them as
willing as I to gamble a week's wages on a cast of the bones. And so far as I can tell,
being swallowed by a sea serpent can't be much different from being chewed up by
any of the foul creatures on Geb's good earth. It's just that I'm infantry born and
bred, and you can't ground your spear against a charge at sea. Besides, this leather
armor may float all right, but it wouldn't stop a wasp sting, much less a pirate's
arrow.
Staggering down the gangway—my legs yet unaccustomed to treading a stable
surface — my ers were assaulted by raucous mixture of music and shouting carried
downwind from the only tavern in evidence. Our port of call was a poor excuse for
a hamlet, it appeared, but at least it didn't pitch and yaw every time the gods of the
sea got playful.
When I moved closer, I saw an inscription on a worm-eaten piece of planking
hanging above the open doorway: The Wallowing Whale Tavern. From within the
shabby, red clay building at odd intervals bellows of "Ale! Ale!" rose above the din.
With the luck of the dice running against me lately, I was just about down to my last
copper. Still, I was thirsty, and my purse would get no fatter without help. Shrug
ging, I went in to see what passed for a drink in this forgotten armpit of the
continent.
As I expected, the place was no better inside than out. Half-barrels served as
tables, and the seating ranged from milking stools to shipping crates to the red clay
floor itself. Nestling into the red powder at a table occupied by an unconscious
seaman, I peered through the gloom and smoke for the serving wench. I spied her
slowly wending her way through the press, and staggering under the weight of two
over-full serving trays. Comely once, I guessed, she now looked as run down as the
tavern itself.
As the wench neared my table, I cried, "Ale!" My voice, loud enough to be
heard, was echoed by a moan from my unconscious companion. Flipping one of
my last copper pieces down her bodice, I reached for the only clay mug with no
flies on its rim.
22
I was intercepted in mid-reach by a massively thewed arm thrust toward the tray
by a giant of a man sitting at a nearby table. In his haste, the fellow succeeded only
in upsetting the tray, showering us both with ale. Cursing the clumsiness of the
serving girl, he leaped to his feet and struck her. Bone yielded with a snap, and her
arm hung limp. A drop of blood welled where her teeih held her lip, but she made
no outcry.
"Geb's beard," 1 swore grimly, as he still berated her. "Wouldst care to try that
with one less frail, chum?"
As all eyes turned to me, I studied my opponent briefly ere he lunged. I saw no
promise in assaulting either the huge hairy chest or the treestump hairy legs, so I
ducked under his outstretched hairy arms and smashed my gaunlletled fist inio Ihe
side of his snarling, hairy face as he went past. His momentum carried him over my
table and head first into the wall. The old building shook. He bounced halfway back
to his feet before sliding slowly down to resi cheek to cheek with the drunken sailor,
who greeted him with a belch.
"Anyone else?" I asked the crowd. There was a deal of talking, but none stepped
forfh. "Not against a man with a hammer for a hand," one muttered.
1 bent down and tugged loose a heavy purse from the hairy man's belt. Turning,
I flipped it toward the serving maid's good hand. "Take a holiday," I suggested, as
she caught it. She nodded, still without speaking, and I took myself off before the
fellow's friends —if he had any
could galher their courage.
I was walking toward the docks, half regretting giving away what felt like a goodly
sum when my own purse was near empty, when I heard footsteps behind. In a
heartbeat I was flattened out behind a building, my dagger in my hand. The wisp
of a lad who turned the corner jumped when he saw me waiting. He looked as
harmless as a heifer, but ! growled, "Well?"
Eying the scowl on my face and my naked blade, he suddenly burst out,
" Yawannagitrich ?"
"Geb's beard," I muttered, sheathing my dagger. "Who doesn't?"
As we strode off down a dirt lane, he elaborated on his proposition. I was silent
until we stood before the gate to a well-kept yard fronting a small, wooden shack.
"We're there," said the lad.
After a time, I shrugged and give him my last two copper pieces. It was liitle
enough, and, if Ihe tale be true, I wouldn't miss it. If not, I'd take it out of his hide,
if need be—and he knew it. I left him then and strode up to the house of Merlis, a
mage of little account (so said the boy) and what passed for the wise man of the
village now that priests of Geb stayed away. It was Merlis who told me the rest....
THE LEGEND OF THE RUINS
OF APSHAI
For more generations than any man now living could count, this entire corner of
the continent was devoted to the worship of Geb, god of the earth. Into the area
came worshippers of Apshai, ihe insect god, who claimed knowledge far in advance
of that possessed by the followers of Geb. However, it was widely known that this
knowledge came from dark and sorcerous practices, and the Gebite priests, fearing
the results of their grisly rites, led their people to drive the outlanders from the
village.
23
Fleeing south, the Apshaians were shortly halted by a vast, uncrossable swamp.
Unable to return to the Gebite village, and unwilling to essay the perils of the swamp
ahead, the high priest of Apshai prayed to his patron for guidance.
Scarcely had he begun his devotions when he was interrupted by the intrusion
of a young girl who said that her brother had fallen into a pit and did not answer her
calls. Although the priest was wrapped in his own concerns, he did direct some of
the others to search for the youth, but they returned at nightfall, defeated, con
vinced the pit must be bottomless. Nor had Apshai seemed to respond to the
priest's prayers.
Then, shortly after dawn the following morning, the boy wandered into the pil
grim camp, cut and contused, but without serious injury. Not only had the lad
returned safely, but Apshai seemed to have used him to give the solution to his
people's plight.
The pit may indeed have been bottomless, but the boy had landed on a shelf not
too far below the surface, unconscious. He had come to after nightfall and had
wandered in the dark through a series of caves, eventually coming upon a larger
cavern with a salt-water beach. There he had collapsed to the sand, too weary to
continue. He awakened to a light touch only to see a six-foot-long ant towering over
him. Despite his beliefs, he fled this manifestation into the water.
As his swimming brought him nearer to the furthest wall of the cavern, he noticed
the water had assumed a greener hue. Beneath him a glow spread into the murky
depths within the cavern. He dove and swam inlo the brightness.
When he surfaced, drawing in great lungsful of fresh sea air, he rejoiced in the
restoring warmth of the sun. As he climbed the rocky face of the overlooking
coastal bluff, he noticed that the water was receding. The clump of red seaweed
which had caressed him as he swam out of the cavern was now hanging limp from
the cliff face.
The boy led his people back to the spot. Behind the drape of seaweed, they
discovered a narrow cieft in the rock. They had found their new home.
In the caves beneath the coastal bluff, the Apshaians set to planting the strange
crops they knew would flourish in the underground environment. They hewed out
new passages and reaped the harvest of gems and gold they found in their new
cavern kingdom. They prospered, and their numbers swelled. The power of Apshai
grew in the land. Finally, they were even accepted by the Gebite priests, who were
won over by the tribute of gems and incense sent to them every year.
The Gebite people, however, grew sorely fretful. While none knew the details of
the dread Apshai rites, dark rumors abounded, and every year young people dis
appeared. The priests of Geb, we!! satisfied with their new wealth, ignored their
pleas, for nothing could be proven. By themselves, the people prayed for three
years while the temple of Apshai was constructed within the cavern by the sea.
They prayed for two years more while a plague of insects from the swamp beset
them. They prayed for five years more, while the priests of Geb continued to burn
Apshaian incense moss during the Gebite rites, even though crops failed and
animals were barren.
Finally, the people's prayers were answered.
One morning, as the priests began their regular devotions, the earth trembled
beneath them, and a deafening roar was heard throughout the land. Stumbling out
of their tottering temple, the shaken priests were greeted by the tumbled ruins of
what had once been their town. Following the cries of the villagers, they hurried to
24
the shore and ran up the beach toward the coastal bluff. When they reached the
entrance in the cliff face, a thin streamer of dust was filtering from within. They
peered in and, where the mighty temple of Apshai had stood against the far wall,
they now saw only a vast slide of fresh earth.
Over the years, the village was rebuilt, and the Gebite priests renewed their
power over the common folk. For many years the caverns remained seldom visited
and always undisturbed. Generations passed, and memories faded into legend.
Then, during the reign of high priest Nemdal Geb, a movement was begun to
excavate the old temple in search of the legendary gems and gold of the Apshaians.
A noted engineer was hired, and first the ancient temple and then (he ancient pas
sages, one by one, were cleared. The underground gardens, with their slrange,
sunless growths, were rediscovered, as were the shops and, finally, the mines of the
Apshaians. Nemdal Geb decided to continue the excavation in hopes of recovering
the lost knowledge of the Apshaians. This proved to be an ill-fated decision indeed.
Shortly after the fourth passage was cleared, work parties began lo disappear.
Soon no one would enter the fourth passage, and eventually the other passages
and the temple cavern itself became unsafe. Commerce dwindled, and the popula
tion waned. The town was again facing disaster. In response to the people's out
cries, Nemdal Geb led the other priests of Geb and the strongest warriors of the
town in a quest to end forever the curse of Apshai. They entered the fourth pas
sage, and none returned.
EPILOGUE
"And now, my friend," Merlis continued, "only the bravest or most foolhardy
dare enter the cavern under the coastal bluff when the tide is at its ebb, and few of
them return. Those who do grow in legend to proportions men of mere flesh and
blood could never hope to realize. My friend, this village is dying, and its people with
it. Soon the last will fall to the curse of Apshai, and only the doers of great deeds
shall be remembered." He turned his gaze to me. "Dare you join them in search of
the lost wealth still, if the legends speak true, hidden there?"
"Geb's beard," I murmured
■
The Monsters
of Apshai
^4-
A ^-~. U « *
Antmen—These creatures look like six foot long ants walking upright on their
hindmost legs with the other four legs free for manipulation. There are significant
differences between the classes of antmen but unfortunately these differences are
only discernible to other antmen. They attack with their mandibles and sometimes
with their forelegs as well.
Carrion Beasts —These creatures resemble squids equipped with spindly legs.
They generally have six tentacles with which they maul and crush their prey. Their
bodies are covered with a thin but hard carapace and they are able to travel along
walls and ceilings.
Centipedes —This represents a nest of the little buggers such as might take up
residence under a chest or in some remote crevice. Their bites are mildly
poisonous.
Ghouls—are misshapen creatures with longer than normal arms, wicked claws,
and a mouthful of razor sharp fangs which they ably employ to crack the bones of
their prey. They have tough hide and stand about seven feet tall. They are said to
eat the soul of their prey as it exits the dying body.
Giant Amoeba —This creature is a mass of gray protoplasm which has a strong
solvent effect on living flesh. They range from six to ten feet in diameter.
Giant Ants—These huge insects are four to six feet iong and travel quickly on
their six legs. They attack their prey with their large mandibles. They are entirely
encased in a hard shell.
Giant Bombadier Beetles—are about three feet in diameter and fly around on a
pair of glossy wings. They can generate a good speed on their little wings and attack
their prey in bowling rushes.
Giant Fire Beetles — These melon sized creatures are copper red beetles which
are capable of generating tremendous heat within their bodies with which they
attack their prey. They have a thin shell but move about very quickly on the wing.
Giant Leeches — A disgusting rubbery grey, these are two or three feet long. They
travel about on a trail of slime and drain their prey of body fluids with their sucker
mouths.
26
Giant Mosquitos— have a three or four foot wingspan and maneuver their
slender bodies about rapidly through the air. They insert their proboscises into their
prey and drain the body fluids.
Giant Rats—are four feet tall at the shoulder and have nasty teeth. They are dirty
creatures and are recognizable by their musky smell.
Giant Spiders —look like a tarantula-black widow hybrid with a hairy black body
and black and red banded legs. They are reputed to be quite poisonous as one might
expect from the four or five foot size.
Giant Termites — are two to three feet long and move about on flimsy wings. They
have soft shells and are brown in color.
Giant Ticks —are foot long ticks and are dark brown or black in color. They are
hard shelled and leap about on their strong hindmost legs. They drain body fluids
with their proboscises.
Giant Wasps — are three or four feet in length and their thorax is tipped by a
paralyzing stinger. They are very mobile and will attempt to sting their prey into
submission before burying their prize for future consumption.
Jellies—are formless masses of translucent jelly about three feet high and six or
eight feet across; Iheir touch dissolves flesh. They have no socially redeeming value.
Skeletal Bats —These feral creatures are bare skeletons of bats with red emberlike eyes. They have wingspans of two or three feet and will attempt to bite their
prey with their sharp fangs.
Skeletons—are the animated skeletons of men which now stalk the underground
passages in search of victims. They are said to devour the soul of their victim as it
exits the dying body.
Spiders — This represents a whole nest of small spiders. These little killers are coal
black and have white eyes. They inhabit small dark spaces such as the insides
of chests.
Swamp Rats—are two to three feet long and are famed for their ravenous
appetites. They will fearlessly attack anything that moves or has a strong smell and
they eat anything they can swallow. They come in your choice of decorator colors.
Vampire Bats —These creatures inhabit the darker recesses of the dungeon.
They are generally black and have wingspans around three feet. They bite their
victims with their razor sharp fangs and drink the blood which flows from the
wound.
Wraiths—These ghostly creatures appear as skeletal figures garbed in hooded
frocks. Their eyes are fiery points of light within their cowls. They move effortlessly
about leaving no trace of their passing and are capable of passing through solid
matter at will. Many have died under the chill touch of their bony hands.
Zombies—These creatures are animated corpses which stalk the dark passages in
search of prey. They sometimes utilize weapons garnered from their prior victims.
They loo are said to devour the souls of their victims as these exit the dying bodies.
27
The Traps of Apshai
LEVEL ONE
LILY TRAP—The lilies give off a cloud of fine powder which causes severe swelling
in your throat.
NEEDLE TRAP— A needle springs from the lock in the immediate vicinity of your
hand.
PIT TRAP—A ten fool pit opens beneath your feet.
SPEAR TRAP—A spear thrusts out of the cabinet as it is opened and then
retracts.
MOLD TRAP—The yellow mold on the floor gives off a cloud of spores as it is
stepped on. These spores cause a severe coughing fit.
LEVEL TWO
CEILING TRAP—A steel blade descends from the ceiling, sweeps down the cor
ridor in a long arc and then retracts.
NEEDLE TRAP — A needle springs from the lock very near to your hand.
PIT TRAP — A ten foot pit with pointy spikes in the bottom opens beneath
your feet.
SPEAR TRAP—A spear thrusts out of the wall and then retracts.
X-BOW TRAP— A crossbow quarrel fires from the wall opposite the door as you
enter the room.
LEVEL THREE
CAVE IN TRAP—There are no traps per se in the Apshaian mines. One never
knows, however, when a rock might loose itself and cause severe damage to those
unfortunate enough to be standing below. For this reason it is highly recommended
that all visitors wear helmets while wandering through the ancient caverns.
LEVEL FOUR
LILY TRAP—When you disturb the chest you reveal some lilies which give off a
cloud of fine powder that causes a severe swelling in your throat.
DAGGER TRAP—As you examine the cabinet a stiletto with a dark stain near
the tip thrusts itself toward you and then retracts.
FLAME TRAP—A jet of flame roars out from the wall above the chest as you
disturb the contents.
PIT TRAP—A twenty foot pit with a bed of spikes at the bottom opens beneath
your feet. Still alive? Rough footholds have been dug in the earthen side of the pit.
SPEAR TRAP— Three spears thrust out of the wall at waist level and then retract.
28
lhe treasures
of Apshai
LEVEL ONE
T01 — Several of /he lilies* can be reached. A vague memory of the healing
properties of some Apshaian flowers prompts you to pluck them for later perusal.
T02— The delicate fragrance of the moss prompts you to place a sample in your
pack for later investigation (see Incense Moss*).
T03 — Any plant that glows in (he dark must be worth something to someone so
you bag some (see Phosphorescent Algae*}.
T04
A beautiful cloak, wondrously light, yet lough as nails.*
T05—The aroma of the plant overcomes your better judgement and you taste a bit
of it. It is delicious and builds strong bodies twelve ways (see Food Algae*).
T06—Having enough to worry about at present you forego sampling the mush
rooms* for the time being and take some of each type for future examination.
T07 —Having spent some time up and down the coast you know of several
varieties of useful seaweed so you take some along (see Kelp*).
T08—In a pocket of the deceased you find four gold pieces.
T09—The arrows all have silver points (see Silver Arrows*).
T10—Resting in the dirt are five small diamonds*.
Til —Eight small diamonds* lay in the dirt.
T12—Four small diamonds* rest in the earth.
T13—Laying in the dirt are seven small diamonds*.
T14—The arrows have silver points (see Silver Arrows*).
T15 —The sword has mithril worked into the blade, the hallmark of magical arms
and armor. There are also two gold pieces on the body.
T16—Inside the cabinet you find five arrows with mithril worked into the points.
T17—This much copper has got to be valuable so you slip the ingot into your sack
(see Copper Ingot*).
T18—Inside the box you find two hundred silver pieces and a diamond ring*.
T20 —Nothing of value.
See Master Treasure Key
29
LEVEL TWO
T01 —After coaxing open the cabinet you find a silver candelabra*, six silver
trays* and a bronze skull ring* with mithril specks for eyes.
T02 — Fifty silver pieces.
T03 — On the workbench you find asmall(jo/<:/in<io/*anda tiny box with two small
rubies* inside.
T04 —You stumble across a finely worked clonk (see Magic Cloak*).
T05— On a shelf on the south wall you find two small silver ingots*, two copper
ingots* and a liny box with three small diamonds* inside.
T06 —Finding nothing of value in the room you pour the milky liquid into a water-
skin, just in case you happen to be dying of thirst in (he desert some day (see Milky
white Potion*).
T07 — After jimmying the lock you find five hundred copper pieces and four
hundred silver pieces as well as a porcelain talisman inscribed with mithril runes
(see Magic Talisman*).
T08 — On a back shelf of one of the racks you find a finely honed blade worked
with mithril.
T09 —The moldy sack splits at your touch spilling its contents of sixty gold pieces
to the ground.
T10— A search of the lockers reveals that aside from rotten clothing, one contains
six hundred copper pieces, another coniains a sack with sixty gold pieces, and the
last holds two hundred silver pieces and a diamond ring*.
Til — The sack coniains one hundred silver pieces and thirty gold pieces.
T12— Under the mattress on the bed you find a moneybelt containing two hundred
silver pieces and thrity gold pieces.
T13 — Seven silver coins.
LEVEL THREE
T01 —Two gold nuggets*
T02 — Three gold nuggets*
T03 — Four gold nuggets*
T04 — Five gold nuggets*
T05 — Six gold nuggets*
T06 —Nothing of value.
T07 — Two small diamonds* lay in the dust.
T08 — One small ruby* lays in the dirt.
T09 — Resting in the earth is one small emerald*.
T10 — Laying in the dirt you find one small sapphire*.
Til —One small diamond* mingles with the earth.
T12 —One
small emerald*
See Master Treasure Key
and
one small diamond*
gleam from
the dirt.
30
T13 — One small ruby* and one small diamond* lay in the earth.
T14—Inside the backpack you find three hundred gold pieces, a pearl ring*, an
emerald ring* and a sapphire bracelet*. In a pocket on the body you find a bronze
skull ring* with mithril specks for eyes.
T15 —Inside the sack you find three small diamonds*, a small ruby*, a ruby
chalice*, a silver chain* and a pearl ring*.
T16—A small pouch containing two small diamonds* and a small ruby*.
T17— In the corner you find a small sack with two small diamonds*, a small sap
phire*, a small ruby* and a diamond goblet* inside.
T18—Behind (he large web is a heap of two hundred gold nuggets*.
T19—A search of the chests and coffers reveals forty-five small diamonds*, ten
small emeralds*, seven small sapphires* and four small rubies*.
T20—Nothing of value.
LEVEL FOUR
T01
Thar's gold in them thar plaques, (see Gold Plaque*)
T02—The solitary sword has mithril slivers worked into the blade.
T03—Inside (he box you find eighty-four platinum pieces*, fifty-five small dia
monds* and a neatly folded cloak with mithril threads interwoven through the
fabric, {see Magic Cloak*)
T04—The body wears a moneybelt with sixty-five gold pieces inside.
T05 — The chest holds sixty gold pieces, fifteen small emeralds*, an emerald
bracelet*, two diamond stickpins*, two gold chains* and a pair of fine leather
boots with mithril slivers embedded in the soles, (see Magic Boots*)
T06 — The runes on the cover prove to be flecked with mithril which prompts you
to stash the book in your backpack for later perusal, (see Magic Book*)
T07 — The arrows have mithril slivers worked into the points.
T08— Beneath the body in the corner you discover two large sacks, each of which
contains two hundred and fifty gold pieces.
T09 — Neatly arranged on the shelves are five platinum crosses* two platinum
offering plates* and two platinum candelabras*.
T10—Scattered in the dust you find fifty gold pieces.
Til —You find thirty gold pieces scattered in the dust.
T12 — The small sack proves to be more than it appears holding ten thousand
silver pieces but weighing much less than one would expect.
TI3 — The gold plaque* won't fit into your backpack but you decide to carry it
along anyway.
T14—Two large rubies.
T20—Nothing of value.
See Master Treasure Key
31
MASTER TREASURE KEY
Coinage Valuation
1 Silver Piece = 10 Copper Pieces
10 Silver Pieces = 1 Gold Piece
Baubles
Miscellaneous
Gems
Small Diamond
100 SP
Small Emerald
200 SP
Small Ruby
400 SP
Small Sapphire
300 SP
3000 SP
Large Ruby
Jewelry
Diamond Goblet
Diamond Ring
Diamond Stickpin
Emerald Bracelet
Emerald Ring
Gold Chain
20 SP
3500 SP
2500 SP
Gold Ingol
450 SP
Gold Nugget
Gold Plaque
2000 SP
2000 SP
300 SP
Platinum Plate
1000 SP
Platinum Piece
100 SP
1000 SP
5000 SP
Silver Arrow
Silver Candelabra
500 SP
Silver Ingot
1000 SP
Silver Tray
1 SP
200 SP
100 SP
100 SP
Pearl Ring
200 SP
Ruby Chalice
Sapphire Bracelet
Silver Chain
1100 SP
50 SP
1600 SP
900 SP
Flora
Food Algae
Incense Moss
Kelp
Copper Ingot
Platinum Candelabra
Platinum Cross
5SP
30 SP
Mushrooms
5 SP
6 SP
Phosphorescent Algae
5 SP
The values given are for the quanti
ties contained in each respective
treasure.
Lilies
When eaten, each acts exactly as a
healing potion.
32
MAGICAL ITEMS
Magic Arms
These items are enhanced to varying potencies the
exact nature of which is unavailable to adventurers.
It is known that certain powerful blades glow with
a light of their own. Beware of cursed items.
Magic Books
These items most commonly increase certain char
acteristics of the reader although other effects are
Magic Boots
not unheard of. Their effect is permanent.
Rumor has it that these boots enable the wearer to
run like the wind.
Magic Cloaks
Skull Rings
These Apshaian creations are said to protect the
wearer from physical injury. This protection is by
no means absolute.
These rings have some power in relation to the
living dead which wander the underground pas
sageways. The exact nature of these powers is
unknown but they have figured in several miracu
lous escapes from the foul miscreants.
Magic Talismans
These trinkets endow the holder with wondrous
White Milky Potion
This is simply a commonly known healing potion.
powers of mental perception.
With the exceptions of the arms and the magic books, all of the magic items found
in Ihe ruins are enchanted with spells peculiar to the Apshaians and lose their power
permanently if they are ever taken from the complex.
The Chambers
of the
Dunjon
Ll-1
The Temple of Apshai
Room Descriptions
Level 1
Room One—The smooth stonework of the passageway floor shows that advanced
methods were used in its creation. A skeleton sprawls on the floor just inside the
door, a bony hand, still clutching a rusty dagger, outstretched toward the door to
safety. A faint roaring sound can be heard from the far end of the passage.
Room Two—A stream runs through this natural stone chamber. A narrow landing
adjacent to the corridor at the north end of the chamber allows easy access to
the stream. The water flows in from a cut in the west wall and flows out under
the north wall near the landing. In an alcove near one end of the landing there
are many urns and pots. The water is very clear and appears to be about three
feet deep.
Room Three—A finely carved and painted mural fills the east wall of the passage,
opposite the opening, depicting men tilling the soil. A ransacked backpack rests
under the mural. A roaring sound can be heard from the north.
Room Four—is a smoothly carved passage with a native granite ceiling. Slippery
green moss fills every crack and crevice in the room, and the air is filled with its
heavy scent. An empty purse lies in the southwest corner. A droning sound can
be heard.
Room Five—is a pond-filled room with a small landing to the south. The surface
of the sluggish water is covered with moss and a number of black lilies rest
peacefully upon the green matting. The water can be found to be about three feet
deep and flows
almost imperceptibly in under the west wall and out under the
east wall. Some of the lilies can be reached from the landing.
Room Six—Water flows into this chamber from the northern part of the west wall
and out again through the southern part of the same wall. The surface of the water
is covered with moss and multi-colored lilies, some within reach of the landing.
Experiments will reveal the water to be about three feet deep.
Room Seven—The moss-covered water in this chamber appears to be three feet
deep, also. A rusting suit of platemail can be seen on the murky bottom. White lilies
rest on the surface of the pool. Water flows into the chamber from under the east
wall and out under the west wall.
Room Eight —is a passage with smooth stone walls and floor and a native rock
ceiling. A loud roaring sound may be heard from the north. A humanoid skull
rests on the floor in the middle of the passageway.
Ll-2
Room Nine —is of roughly hewn stone. The floor has been levelled by manmade
means, but the walls and ceiling are native rock. Cobwebs fill every crack and
hang from the ceiling, dancing slowly in the slight breeze. A cloying, sweet odor
fills the air.
Room Ten—The air of the room is filled with a cloying, sweet aroma, causing
the senses to reel. The walls of the room are covered with moss which is largely
brown and dried with only a few pale green patches remaining. Breaking off any
part of the green moss will reveal it as the source of the aroma.
Room Eleven—A mist drifts into the corridor from an opening in the west wall
and a deafening roar is heard. Moss covers the floor before the opening to the
west and a rusty sword lies on the mossy stone.
Room Twelve—The floor, walls, and ceiiing of the chamber bear the marks of
tools. A glow fills the opening to the east and a foul, musty odor is in the air.
Room Thirteen—The room is well lighted by the phosphorescent glow emanating
from the greenish-yellow algae covering the high ceilings of native rock and
well-worked stone walls to the north and south. A broken bow lies in two pieces
on the floor near the east wall.
Room Fourteen —A loud roaring sound may be heard from the west end of the
passage. A pyramid of medium-sized stones fills one corner of the north wall at
the east end of the corridor.
Room Fifteen—is an irregular cave of native rock. The walls and floor are covered
with a heavy matting of multi-hued moss. The walls are brilliant reds, greens, and
blues, while the floor is a pastel yellow. A wooden box lies topless in the middle
of the cavern floor. Inside lies a well-made cloak. The material of the cloak seems
to shimmer in the torchlight.
Room Sixteen — Here you find the source of the roaring sound. A stream flows
into the chamber from the south, across the large water wheel, and plummets
into a pit in the floor of the cave. The bottom of the pit cannot be seen, but
experiments will indicate that it is a very long drop.
Room Seventeen — Only the floor has been smoothed in this chamber, the walls
and ceiling having been left in the natural state. The air smells of decaying vegetable
matter. A small mound of stones against the west wall in the north end of the
passage partially blocks the way to the north.
Room Eighteen—The passage reeks of spoiled and rotten matter. A strip of cloth
sticks out from beneath a mound of dirt in the southern portion of the passageway.
Room Nineteen — Small bones litter the floor of this chamber and crunch under
the boots of the incautious traveller.
Room Twenty—The walls of the room are covered with algae. Most of the algae
is black and rotten, but the few remaining brown patches have a nutty aroma, and,
if tasled, are reminiscent of spiced bread.
Room Twenty-one—The west wall of the cavern shows the marks of carving
tools, but the rest is natural rock. The floor of the room is overgrown with
mushrooms of two varieties. One has broad, flat caps and is white with brown
splotches, while the second variety has black, tightly rounded caps.
Ll-3
Room Twenty-two —This cavern is also overgrown with the same types of
mushrooms as are found in room twenty-one. A skeleton lies among the
mushrooms still clutching the remnants of a sack.
Room Twenty-three—The native rock walls of the room are covered with algae.
Most of the algae is black and rotten, but the remaining brown patches have a
nutty scent and taste like spiced bread. The exoskeleton of a huge ant lies in the
middle of the chamber.
Room Twenty-four — is a mossy, carved stone landing. The air is very humid
and smells of damp and mold. A slime-covered sack rests against the eastern wall
of the landing.
Room Twenty-five—A stagnant pond fills the south end of the carved stone
chamber, with a narrow landing at ihe south end. White mold covers the surface
of the water, save the southeast corner, where a gold-colored seaweed is in
evidence. Tests will reveal the water to be three feet deep, but the bottom of the
pool cannot be seen through the murk.
Room Twenty-six—A shallow pond fills most of the room. The surface of the
water is covered with a white mold, except in the northeast corner where a clump
of golden-brown seaweed is visible.
Room Twenty-seven—The floor of this tunnelled passage is streaked with slime.
A well-wrought iron candlestick lies at the southern end of the tunnel.
Room Twenty-eight—The tunnel floor is streaked wiih a stinking slime and
littered with small and medium-sized stones.
Room Twenty-nine—The odor of the slime coating the entire chamber floor is
overpowering. A trickle of water runs down the eastern wall and a small pool
has formed in a depression in the southeast corner of the room. A rigid body in
a finely woven cloak lies in the northeast corner.
Room Thirty—The smoothly carved northern and southern sections of the
chamber contrast sharply with the native granite found in the middle of the room,
suggesting that it has been widened out from a natural passage. A quiver and some
arrows lie on the floor in the middle of the chamber next to a sword and a
broken bow.
Room Thirty-one — is a narrow, low tunnel of native rock. Small slides of earth
and rock line the sides of the passage with a larger fall of stones near the eastern
end of the tunnel. A skeletal hand protrudes from the rockfall, an inscribed bronze
ring visible on one of the fingers.
Room Thirty-two—is a rough, five-foot wide tunnel with packed dirt walls,
floor, and ceiling. A shining trail of dried fluid runs the length of the tunnel and
the air smells of vanilla. Strange clicking sounds echo faintly through (he passage.
Room Thirty-three—A shiny trail runs the length of the packed-earth tunnel
and the odor of vanilla fills the air. The clicking grows louder.
Room Thirty-four—A trail of shiny excretions run the length of the passage
and the vanilla odor is stronger than before. The clicking sound is clearly audible
from the north end of the tunnel.
Ll-5
Room Thirty-five—is a rough cave, carved out of the dense earth. The vanilla
odor clogs the nostrils and the clicking noises are still audible from within.
A handful of gems litters the dirt floor before the western wall.
Room Thirty-six—Vanilla fills the air and the clicking sound appears to emanate
from nearby. A (resh slide of earth against the north wail reveals the glitter of gems
amid the fallen earth.
Room Thirty-seven—The odor of vanilla is strong and the clicking sounds
continue. The east wall is studded with a number of glittering gems.
Room Thirty-eight—The tunnel appears to have been dug out of the hard
earth. A familiar trail runs the length of the passage and the odor of vanilla is
heavy. The clicking sound begins to fade.
Room Thirty-nine—The floor of the passage is lined with the excretion and the
aroma of vanilla fills the air. Clicking sounds echo faintly through the passage.
Room Forty —has been dug out of the surrounding hard-packed earth. The odor
of vanilla becomes exceedingly strong, but the clicking sound is barely audible
from within. Gems can be seem gleaming from the south wall.
Room Forty-one—The trail of dried fluid is heavier here and the odor of vanilla
is almost unbearable. The clicking sound grows louder in this passage.
Room Forty-two—The vanilla odor is cioyingly thick. Bones and gems titter the
floor along the north wall. The clicking sound is plainly audible within the cave.
Room Forty-three—The aroma of vanilla makes the senses reel and the floor of
the room is covered with the shiny stuff previously observed. Bones lie scattered
across the floor and the clicking sound grows fainter from within. Gems stud the
south wall.
Room Forty-four—The tunnel floor is heavily coated with dried fluid and the
aroma of vanilla is overpowering. The strange clicking sounds are now quite loud
in this passage.
Room Forty-five — is a large cavern. The shiny stuff is lighter inside than in the
connecting tunnel, but the vanilla odor is strong. The clicking sound appears to
emanate from within. A pile of shiny cocoons fills (he northern half of the room
and gems are scattered about the dirt floor.
Room Forty-six—The vanilla odor is still strong. The ceiling of the cavem is hung
with the moldering bodies of various creatures, mostly men. The shiny stuff is
heavy on the floor and the clicking sound is heard clearly. Gems are visible in
the dust of the cavern floor.
Room Forty-seven—The clicking is replaced by a droning sound. A skull and
some bones lie next to a quiver of arrows.
Room Forty-eight—The droning continues to echo from within the cavern. An
elaborately carved sword hilt sticks out from under a heap of rocks. Bootprints
lead up to the pile, but no other signs of disturbance can be seen.
Room Forty-nine — is a narrow, high-ceilinged passage. Small slides of earth
and stone line both walls of the tunnel.
Room Fifty—A forgotten backpack rests on the slimy stone against the middle
of the north wall.
Ll-6
Room Fifty-one—A rotting wood cabinet stands in the southwest corner of the
chamber, the brass lock of the cabinet broken.
Room Fifty-two — is a smoothly worked passage. Shallow alcoves line the north
wall, but are empty save for dust and an old boot that crumbles at a touch. The
carpet of dust on the smooth floor is undisturbed.
Room Fifty-three—The north and west walls of the chamber are lined with racks
of rusty farming and stoneworking implements.
Room Fifty-four—A dusty wooden chest sits in the southeast corner, the iron
lock rusted through and the wood decaying from the dampness.
Room Fifty-five—is a rough stone cave save for the smoothly carved north wall.
Dust covers the floor of the room several inches thick and cobwebs hang from
the ceiling and fill every crack of the floor and walls. A small box is visible in the
dust in the southwest corner.
Room Fifty-six— is a passage with rough stone walls and floor and a native
granile ceiling. The south wall of the passage is faced with smooth squarish stones
near the far end, while the floor and other walls are of a rough stone. A foul, musly
odor fills the air and a thin layer of moss coats the floor at the extreme end of
the passage.
L2-1
The Temple of Apshai
Room Descriptions
Level 2
Room One — is a passage with native granite walls. The ceiling and floor have
been carved level. A low scraping sound vibrates through the floor. The air has
the musty smell of age and death. The dust on the floor is heavy near the walls,
but a clear path has been worn down the center of the passage.
Room Two—The walls of the tunnel have been smoothed and widened with
carving tools. A brass-bound wooden door is set into the north wall near the west
end of the passage, its broken lock hanging from the corroded hasp. The scraping
sound continues. The dusty path continues straight for a way, then disappears
into a side passage to the south.
Room Three—The dust on the stone floor shows signs of small animals, but is
otherwise undisturbed. The iron-bound door in the north wail hangs from rusty
hinges. A simple sliding bolt secures it. The scraping sound can be heard through
the floor and the fragrance of cut wood freshens the air.
Room Four—The east wall is of cut and worked stone. The brass-bound wooden
doors in the north and south wails are secured by rusty iron locks. The tracks of
small animals crisscross the floor between the doors and the air smells of musk
and rot. The sound of flowing water can be heard through the floor and a low
rumbling can be heard in the east end of the passage.
Room Five — is a corridor with stonework evident on the walls and floor. The
ceiling is of carved rock. The wooden doors to the east and west hang from
tarnished brass hinges. The scraping noise vibrates through the floor and the worn
dusty path continues down the center of the corridor.
Room Six—Two doors, one to the east and one to the west, are wooden and
hang on brass hinges. The scraping sound grows fainter and the worn path along
the center of the corridor continues.
Room Seven—The north wall of the corridor is native granite, while the others
are masonry. The worn path leads to a wooden door in the west wall from which
dangles a heavy iron lock, now unfastened. The hinges of the door show signs
of frequent use. The scraping sound can still be heard faintly.
Room Eight—The path runs the length of the passage, then bends and disappears
to the north. The door in the west wall is iron-bound wood and hangs ajar from
rusty iron hinges.
L2-2
Room Nine—The stone in the east wall only shows signs of workmanship. Racks
of motheaten robes, wadmal grey in color, fill the interior of the room. Againsl
the north wall stands a locked cedar cabinet and rack hung with the remains of
more elaborate black and green robes. A pungent odor fills the air and the dusl
of the floor is undisturbed.
Room Ten —Furniture of various types is stacked around the walls and the
entire floor is covered wilh a layer of fine sawdust. The air is heavy with the smeil
of different woods. A low scraping sound can be heard through the floor.
Room Eleven—A strong, musky odor intermingles with the smell of decay. Casks
and crates are stacked along the walls and in rows down the center of the room.
The sound of flowing water can be heard through the floor and a vibration can
be felt.
Room Twelve —A bench along the west wall of the small chamber holds a neat
array of jeweler's tools and a small forge on the south wall holds glowing embers.
The dusty floor shows signs of recent disturbance and a strong smell of vanilla
is in the air.
Room Thirteen—All four wails are covered with a heavy layer of soot. Rusty
tools and scrap iron litter the floor, several weapons in various states of repair
among them. A large forge against (he north wall shows no signs of recent use.
The dirty floor is covered with a black, grimy dust.
Room Fourteen — is a small cave with stonework on the east wall and the other
walls, floor, and ceiling of carved rock. An iron chest sits against the south wall
with the key still in the lock. The floor shows signs of rcceni entry and the air
smells faintly of vanilla.
Room Fifteen—Three of the walls are lined with shelves containing dust-covered
beakers, phials, and jars. Evil looking substances in jars marked "eye of newt,"
"hair of frog," etc. occupy a table in the center of the room. An even layer of dust
covers the floor.
Room Sixteen — is a chamber with stonework on the east and west walls. The
olher walls, floor and ceiling are of carved rock. A long table in the center of the
room supports a network of flasks and tubing with a rusty iron oil burner beneath
one end. A table against the south wall holds beakers of colored liquids with strange
inscriptions and a desk in the southwest corner holds a tray with a pitcher of
slime-covered milky liquid. Scraps of paper litter the floor around the desk. An
even layer of dust covers the room. The doorways to the east and west are
obscured by shredded tapestries embroidered with strange glyphs.
Room Seventeen — is a small chamber. Tables covered wilh bolts of rotten cloth
press against the walls. The low scraping sound can be heard faintly through the
floor.
Room Eighteen—Mounds of sawdust cover the floor of the small room. The air
smells of decayed wood. The scraping sound can be heard clearly from the east.
Room Nineteen—The door in the west wall is wooden and has no latch. The
musty smelling room is filled with dusty weaving looms and other spinning and
sewing devices. The scraping sound can be heard through the floor.
L2-3
Room Twenty—Leather hangings on the west wall cover a doorway. The room is
littered with sawdust and rusty woodworking tools. A metal shaft runs from floor
to ceiling in the southwest corner, attached (o a large sawblade by a complex
system of gears and levers, all rusty from age and disuse. The scraping sound is
now very loud. If you move one of the levers, it will cause a loud screeching
beneath the floor.
Room Twenty-one—A small sack lies against the wall at the west end of the
passage. A well-worn palh runs the length of the corridor.
Room Twenty-two—At the far end of the narrow passage there is a door of
brass-bound oak inscribed with strange glyphs. These give off an eerie green glow.
The floor is covered with an even layer of dust.
Room Twenty-three — Strange implements litter a table in the center of the room.
Here and there are various cages with the remains of animals. Jars filled with a
viscous liquid and holding a miscellany of body parts from assorted creatures are
stored in racks on the north wall. The door to the east is made of wood and is
secured with a rusty iron bolt.
Room Twenty-four—A desk sits against the north wall and a table and chair
against the south wall. Along the east wall is a bed with a chest visible beneath it.
The floor is covered with an unbroken layer of dust. The sound of flowing water
can be heard from an opening in the northeast corner where a stream flows
beneath the flooring.
Room Twenty-five — Remnants of books and scraps of paper rest on a rack along
the north wall while a desk fills most of the soulh wall, and a cabinet and bed are
flush with the east wall. The sound of flowing water comes from an opening in the
northeast corner where a stream flows beneath the flooring.
Room Twenty-six—Large vats and tubs are set into the floor of the small
chamber and heaps of rotting clothing litter the room. The sound of flowing water
can be heard through Ihe moss-hung doorway to the east. The dusty floor is
undisturbed and the air smells of damp greenery.
Room Twenty-seven—An underground stream flows through an opening beneath
the eastern half of the floor. The walls and floor of the room are covered with moss
and a malodorous slime.
Room Twenty-eight—The eastern door is wooden and is secured with a simple
latch. The room is filled with tables against the north and south walls, holding a
variety of metal working tools, all rusty with age. A small forge against the south
wall is filled with litter. The scraping sound is heard loudest in the northeast corner
where a metal shaft runs from floor to ceiling and is connected to a bank of
grinding wheels by a complex system of gears and levers. Moving the levers causes
the metal shaft to spin in place and a grinding sound comes from the attached
gears.
Room Twenty-nine—Shelves lining Ihe walls hold a variety of rusted and
corroded metal scraps. The sound of flowing water can be heard through the
dusty floor.
Room Thirty — is a large cavern with stonework on the west wall and the western
half of the south wall. Bales, casks, and crates line the walls and the shelves in
the middle of the room. The air smells of musk and rot, and the tracks of small
animals abound. Water can be heard flowing beneath the floor.
L2-4
Room Thirty-one—is a small cave. Racks of rusty weapons line the walls.
Room Thirty-lwo—A loud roaring sound can be heard from the northern end of
the passageway and bits of bone litter the floor.
Room Thirty-three— is a short passageway. A rumbling sound can be heard from
the opening to the north.
Room Thirty-four —A table and four chairs sit in the middle of the room and
two goblets lie on the floor nearby. Footprints crisscross the dusty floor. The
wooden door to the north stands ajar. The eastern door is wooden with iron
hinges and has a small barred window at eye level. A low rumbling sound is
audible from the west.
Room Thirty-five—Dark stains cover the carved stone floor in front of the door
to the west. The air smells of antiquity and death.
Room Thirty-six — Dark stains mar the floor of the passage and moans and the
rattling of chains echo faintly (hrough the corridor.
Room Thirty-seven — The dark stains are thicker here and the sound of moans
and rattling chains grows louder.
Room Thirty-eight — is a large natural cavern. Manacles hang from the north
wall, one set still supporting a human skeleton. Various braziers, irons, and larger
implemenis of torture line the east and south walls. The air is musty and the
moaning and clanking continues though no source is evident.
Room Thirty-nine through Forty-two — form a narrow passage. The doors to
the north are of iron and have smali barred windows at eye level and small slots
at ground level. All are secured with rusted iron slidebolts. The floor is spattered
with dark stains. The rattling of chains and a faint moaning echo through
the corridor.
Room Forty-three through Forty-six — also form a narrow passage. The doors
to the south are iron. Each has a small barred window at eye level and a small slot
at ground level. All are locked with slidebolts. Clanking chains and sorrowful
moaning echo through the passage.
Room Forty-seven through Fifty —are small, cramped cells. Each cell has a
wooden plank suspended by chains on the north wall. Clanking and moaning echo
faintly through the cellblock.
Room Fifty-one through Fifty-four—are small cells much like the others. The
clanking and moaning can be heard throughout.
Room Fifty-five — is a large natural cavern, except for the western portion of
the south wall, which is stonework. A large waterfall plummets from the ceiling
to a pool in the rear of the cavern, blanketing the area in mist. The chamber
reverberates with the roar of the cataract. Lying near the bank of the pond is a
moss-covered sack. The air is filled with the fresh scent of the many mosses and
ferns growing about.
Room Fifty-six —Six cots line the west wall with six lockers placed along the
north wall. A table and three broken chairs stand against the east wall. A strip of
cloth lies on the stone floor next to the table.
Room Fifty-seven — Dark stains and pieces of bone dot the floor. Faint moans
echo through the corridor.
L3-1
The Temple of Apshai
Room Descriptions
Level 3
Room One —is a natural passage with the floor carved level. Scattered bones
litter the area and a forgotten backpack rests against the wall half way down the
passage. The floor shows signs of frequent comings and goings and the odor of
vanilla is strong in the air.
Room Two—is a natural cavern. The opening to the north has been carved
through the rock. Bones litter the floor along the walls.
Room Three —is a natural cave. Many bones litter the floor along (he walls. The
opening to the east has been dug through the rock wall.
Room Four —is a large cavern. Human and animal tracks mark the dusty floor.
A bright glint is visible near the top of a slide of rocks in the northwest corner.
Room Five — is a natural cave with a leveled floor. The body of a giant rat lies
in the southeast corner. The dusty floor shows signs of distrubance.
Room Six —is a natural cavern. A pile of litter fills the southwest corner. Animal
tracks can be seen on the dusty floor and the air smells of musk and decay. The
opening to the north shows tool marks.
Room Seven—is a natural cave. An old boot lies near a mound of earth in the
southwest corner. The dusty floor is undisturbed.
Room Eight —is also a natural cave. The opening to the west has been carved
through solid granite. Small slides line the walls and a heap of bones fills the
southeast corner.
Room Nine —is a natural gallery with a high vaulted ceiling and a rough stone
floor. A heap of iitter and bones fills the southeast corner and the floor shows the
tracks of large animals. The air smells of musk and decay. The opening to the
south has been widened with carving tools.
Room Ten—is a large natural cavern. Tracks lead into the chamber (hat suggest
something heavy being dragged. The floor is covered with slimy red muck. A pile
of body parts and gnawed bones occupies the northwest corner and the air reeks
of decay and death.
Room Eleven —is cave with little evidence of use in the dust on the floor. A
brilliant glint of light beckons from the dust of the southeast corner.
L3-2
Room Twelve—is a small cave with leveled floor. The opening to the east has
been carved through solid rock. The dusty floor is largely undisturbed save for
a small slide of earth in the southwest corner.
Room Thirteen—is a small cave. The dirt floor shows the tracks of large animals.
Bones litter the northwest and southwest corners.
Room Fourteen — is a wedge-shaped cavern with the ceiling sloping to meet the
floor in the southwest corner. The dusty floor is much disturbed near the Opening
to the east. A smelly mound of trash fills the southwest corner.
Room Fifteen —is a natural cave. A large boulder fills the northwest corner. A
bony hand protruding from beneath it still clutches a small ruby.
Room Sixteen — is a small cave. The opening to the west has been carved through
the rock. The dusty floor is undisturbed. A pouch is visible on the belt of a corpse
lying in the southeast corner.
Room Seventeen—is a narrow tunnel bored through native rock. The rough
stone floor is littered with bones and a small skull rests in the north end of the
passage. No tracks can be seen.
Room Eighteen—is a natural passage. A small sack rests against the south wall
halfway down the passage. The air is filled with a musky odor. The earthen floor
is covered with the tracks of small animals.
Room Nineteen —is a passage with the floor and walls of carved stone and a
native stone ceiling. The opening to the east has been carved through the rock.
The dusty floor shows signs of much activity. A discarded cloak lies against the
west wall.
Room Twenty —is a narrow excavated passage. An abandoned backpack rests
on the floor in the eastern end of the passage.
Room Twenty-one—is a narrow passage. Half of a giant rat lies in the southern
end of the passage.
Room Twenty-two — is a narrow passage. The opening to the north has been
carved through the stone wall. The dusty floor shows signs of some disturbance.
Room Twenty-three —is a narrow passage. The air smells faintly of vanilla. A
rusty pick lies in the dirt at the western end of the passage.
Room Twenty-four—is a natural tunnel through the rock. Some signs of digging
are evident at the southern end of the passage though no toolmarks can be
discerned. The air is filled with the scent of vanilla and the floor shows the marks
of frequent comings and goings. Scraping and clicking sounds are faintly audible
from the north.
Room Twenty-five—is a small passage carved through the surrounding rock.
Room Twenty-six—is a well trafficked passage with carved rock walls, floor
and ceiling. A broken shovel protrudes from a mound of earth near the north end
of the passage.
Room Twenty-seven—is a narrow corridor that shows signs of frequent passage.
A litter of small bones lines the walls and a well-preserved human skull grins from
against the north wall halfway down the passage. The air smells faintly of vanilla.
L3-3
Room Twenty-eight — is a rough, narrow tunnel. The floor is bare except for
a skeleton near the opening to the south. Cobwebs hang in the passage and
scraping and clicking sounds can be heard from the west. The air smells strongly
of death and decay.
Room Twenty-nine — is a small cave with the floor carved level. "Die dusty floor
shows some marks of disturbance toward the opening to the east. The opening
to the north has been carved through the stone. A single emerald gleams from
midway up the west wall of the cave.
Room Thirty—is a small, unoccupied cave except for a scattering of bones and
a small heap of offal in the northeast corner.
Room Thirty-one — is a small excavated room. The room is coated with dust and
the air is heavy with the odor of decaying flesh. An antman body lies half buried
under a slide of earth in the southeast corner.
Room Thirty-two—is a small excavated room. A discarded basket lies in the
southeast corner.
Room Thirty-three—is a huge vaulted cavern with a leveled floor. The walls
show the marks of ancient mining operations and a heap of rusting tools sits in
the northeast corner. The floor shows marks of occasional transit through the
opening to the west, which has been widened with tools.
Room Thirty-four—is a natural cave. The cave is covered with dust and the air is
foul. A human body lies in the southwest corner.
Room Thirty-five —is a large natural cavern. The rough stone walls and vaulted
ceiling are draped with filmy webs. The entire southeast corner is obscured by
a huge web. The dusty floor is littered with a variety of bones and exoskeletons.
Room Thirty-six—is a smallish excavated chamber. A mound of freshly dug dirt
in the northeast corner evidences a yellow glitter.
Room Thirty-seven — is a long cavern with bones littering the floor. A foot-worn
path runs between the two openings. Off the path, travel is hindered by the many
and bizarre rock formations. One of these resembles a gianl hunting insect. A dead
antman lies in the northwest corner.
Room Thirty-eight — is a large cavern with the floor carved level. A worn path
runs between the two openings. A large wooden box is set against the wall in the
southeast corner.
Room Thirty-nine—is a small natural cave. The dusly floor evidences much
disturbance. Scattered bones litter the dust and a discarded backpack rests in
the northeast corner. The air smells of ancient death.
Room Forty—is a natural cave wiih rough stone walls, floor and ceiling. The
aroma of vanilla fills the air. The southeast corner holds a heap of fresh earth
with the glint of gold visible.
Room Forty-one—is a natural cave. The opening to the west has been dug
through the earth but shows no toolmarks. The floor is well trodden and the smell
of vanilla fills the air. A pile of baskets leans against the wall in the northeast corner.
Room Forty-two —is a natural cave. The floor shows marks of frequent passage
and the walls bear the marks of recent digging. A small basket in the northwest
corner holds gold nuggets. The air is thick with fhe smell of vanilla.
L3-4
Room Forty-three—is a natural cave. The openings to the south and east have
been dug through the earth but show no toolmarks. The floor is much travelled
and the walls show signs of recent digging. A smal! basket in the southwest corner
holds a few gold nuggets. The air is thick wilh the smell of vanilla.
Room Forty-four—is a huge natural cavern with a leveled floor, although a few
stalactites hang from the roof. The opening to the north has been dug through
the rock. A heap of stones stands in the middle of the cavern. There is a faint draft
of air blowing from north to south through the cavern.
Room Forty-five—is a small chamber with the wails, floor and ceiling chiseled
smooth. The dust shows a heavily trafficked path through the opening to the west
and a less clear trail through the opening to the east. The air smells faintly
of vanilla.
Room Forty-six—is a cave. The dust shows a beaten path between the two
openings. A pile of bones litters the southeast corner. A faint smell of vanilla is
in the air.
Room Forty-seven—is a small cave with Ihe floor carved level. The floor shows
tracks from the southern opening to the center of the room where a small pile of
gnawed bones rests.
Room Forty-eight —is a cavern. A path in the dust runs between the two
openings.
Room Forty-nine — is a natural cave. A well trodden path in the dust runs
between the two openings and the air smells faintly of vanilla. A small pile of rusty
weapons litters the northwest corner.
Room Fifty—is a smallish cave with the floor carved level. A well worn path runs
between the north and south openings. The air smells faintly of vanilla. A stack of
rusty tools leans against the east wall.
Room Fifty-one — is a small excavated chamber. A well-worn path runs between
the north and west openings with a fainter trail to the east. The air smells faintly
of vanilla intermingled with the odor of decayed flesh. A newly slain antman lies
in the southwest corner with a spilled basket of gold nuggets nearby.
Room Fifty-two—is a natural cave with fantastic stalactite and stalagmite
formations. The air reeks with a pungent stench. A corpse lies just inside the
opening. A tattered sack rests against the wall in the northeast corner.
Room Fifty-three—is a natural cave. An unbroken layer of dust covers the floor.
A heap of stones fills the southwest corner of the room.
Room Fifty-four— is an excavated room. A well-worn path marks Ihe floor
between the two openings and the faint smell of vanilla is in the air. A pile of bones
rests in the northwest corner of the cave.
Room Fifty-five — is a natural cave with the floor carved level. A well trodden path
runs between the two openings and the air smells faintly of vanilla.
Room Fifty-six —is a natural cave. The opening to the north has been dug
through the earth without the benefit of tools. The walls show the marks of
recent digging. The air smells heavily of vanilla. A small basket holding a few gold
nuggets sits on the floor in the southeast corner.
L3-5
Room Fifty-seven — is a natural passage with the floor carved level. The dusty
floor shows some signs of passage. A small mound of fresh earth occupies the
middle of the corridor.
Room Fifty-eight — is a natural cavern with a rough stone floor. A skeleton in
the souihwest corner still wears the remains of a rotting backpack. Small bones
litter the floor. Torchlight creates vague shadows (hat suggest beasts, or worse,
lurking in the corners of the chamber.
Room Fifty-nine-—is a narrow passage. The opening to the north has been dug
through the earth bui shows no toolmarks. A well-worn path runs from the opening
in the west wall into the northern passage. The air smells faintly of vanilla.
Room Sixty—is a huge vault with stonework walls and floor and a native rock
ceiling. Rude statues and carved pillars picture men and half-men. As the figures
become more bestial, the workmanship becomes more primitive. Ancient tools
and artifacts lie all about the chamber. Small stone doors of cunning device line
the east and south walls. Several of these are open, revealing (hree by three by
six fool openings into the rock. A shroud hangs from one of the open cavities.
Glyphs of unknown symbology cover the walls. The dusl of the floor is thick and
undisturbed. The air smells of musty antiquity and death. Several urns and coffers
in the southeast corner gleam wilh jeweled brilliance.
L4-1
The Temple of Apshai
Room Descriptions
Level 4
Room One —is a natural passage with the floor carved level. A well trodden path
in the dust of the floor runs the length of the corridor. The door at the end of the
corridor is of iron-bound wood and has a small, barred window at eye level. The
air smells faintly of vanilla.
Room Two —has stonework walls, floor and ceiling. The dusty floor is much
disturbed and the air smells strongly of vanilla. A wooden table and four chairs
stand in the middle of the room. The door to the west is wooden.
Room Three — is a passage with an even layer of dust covering the floor. A
discarded sack rests against the west wall halfway down the corridor.
Room Four—A table and four chairs occupy the middle of the room. The dusty
floor shows some large animal tracks and the air smells faintly of vanilla. A rusty
sword leans against Ihe wail in the southeast corner.
Room Five—A well-worn path in the dust runs the length of a corridor and the
air smells of vanilla. The door to the west is actually a set of double oak doors.
The hinges look well oiled and marks in the dust on the floor betray recent opening.
Room Six—A path in the dust runs the length of the corridor. The corpse of a
giant rat lies in Ihe center of the corridor. The door to the west is double and
made of thick oak.
Room Seven — is a huge chamber with stonework on the floor, ceiling and all but
the west wall, which is of carved rock. The room is filled with rough cots and Ihe
west wall is lined wilh a variety of chests. The floor shows signs of frequent
disturbance and the smell of vanilla is heavy in the air.
Room Eight — is another huge chamber. The dusty floor shows signs of frequent
usage and the air is filled with the smell of vanilla. Rough cots line the walls and
stand in rows in the middle of the room, each with a nondescript wooden box
beneath it.
Room Nine — is a large room with masonry work everywhere but for the west and
south walls. The latter are carved from the native granite. The walls are draped with
the tattered remains of tapestries depicting a great battle between two armies. One
army consists of men clad in ringmai! while the other includes a wild mix of men,
ant men, and skeletons. The banners of the second army show a praying mantislike figure in green on a field of jet black. Two gold plaques hang in the southwest
corner.
L4-2
Room Ten —is a small armory. Racks of rusty weapons line the west and south
walls. The dusty floor is undisturbed and the air is foul. An untarnished sword in a
separate rack rest below an indecipherable iron plaque in the southwest corner.
Room Eleven — is an ornately decorated passage. A moldering skeleton in tattered
lealher armor lies against the rusty iron door at the end of the passage. There are
no tracks in the dust of the floor.
Room Twelve — is a passage with an even layer of dust covering Ihe floor. The air
smells of decay with a hint of vanilla. The skull of a mule rests against the wall out
side the wooden door to the north.
Room Thirteen — is a corridor. A worn path on the dusty floor runs the length of
the corridor and the air smells of vanilla. The door to the north is brass-bound wood.
Room Fourteen — is a small room. A shelf on the west wall holds a small dark
chest with a key in the lock. The south and east walls are hung with an assortment
of rusty arms and armor. The dusty floor shows no sign of disturbance and the air
is foul.
Room Fifteen—A decrepit bed occupies the north wall, a desk the south wall, and
a table the middle of the room. The corners of the room are draped in cobwebs.
A partially eaten and unrecognizable body rests in the southwest corner of the
room.
Room Sixteen — is a largish room. A small desk stands against the wall to the
south and a larger desk occupies the west wall. The dusty floor shows faint marks
of disturbance and the air smells musty. The door to the west is of brass-bound
wood and stands ajar.
Room Seventeen — is a largish room. Remnants of cloth and leather hangings
cover the walls and the air carries a strong aroma of vanilla. The dusty floor is well
travelled. A large cabinet stands against the west wall of the room.
Room Eighteen — is a small room. The north and south walls are hung with worn
and battered shields and arms. The east wall bears a large plaque of beaten gold
which appears to be an award of some kind.
Room Nineteen — is a large room with the south wall of carved rock. The room is
austerely furnished wi!h wooden planks hanging from chains on the east, west, and
south walls. The floor is covered with mouldering straw and the air reeks of decay
and vanilla. A dead rat lies in the center of (he floor.
Room Twenty—is a small room that appears to be a natural cave except for the
west and north walls. A large chest stands open in the southeast corner of the
room. The west wall is covered with soot as is the western part of the ceiling. Bones
are scattered over the dusty floor and the air carries a strange sickly sweet odor.
From the chest comes the gleam of jewelry and gold.
Room Twenty-one — is a wide room with a large bed occupying the west wall and
a rack of tattered robes in the northwest corner. A desk covered with scrolls stands
against the east wall. There are large animal tracks in the dust of the floor and the
air reeks of vanilla.
Room Twenty-two—A well trodden path in the dust runs up and down the cor
ridor and to the doors on the north and south walls. The air smells of vanilla. The
doors themselves are wooden and have no locks.
L4-3
Room Twenty-three —A well-worn path in the dust runs the length of the corridor
and to the door in the north wall. The latter is brass-bound oak and in good repair.
K bears a strange inscription that glows with a green light in the gloom. The air
smells of vaniila.
Room Twenty-four — is a long narrow room with wooden doors at either end. The
waits are cowered with arcane heiroglyphs and tapestries bearing the same glyphs
hang beside the doors. The room looks often-used and the air smells heavily of
vanilla. There are many wooden cots with (altered mattresses in the room. A large
chest occupies the northwest corner of the room.
Room Twenty-five — is a large room with heiroglyphs inscribed in the dark slate
walls. Stone benches occupy the western half of the room. Although much worn by
wear, strange heiroglyphs and scenes showing intermingled insects and men can be
seen carved in (he sides and backs of the benches. Blocks of stone, hollowed out
on top in the shape of bowls, protrude from the walls at irregular intervals. Ornate
black metal braziers hang from the ceiling about the edges of the room. Against the
east wall is a raised black marble altar, carved with glyphs that give off a faint, eerie
green glow. On the altar itself is a large marble statue of a praying mantis, forelegs
outstretched and mandibles open. The eyes of the mantis are great rubies—a fine
treasure if you dare grab them! A human skull stares eyelessly from the steps
leading to the altar. The doors to the north and south are of brass-bound oak, while
the doorway to the east is covered wilh a worn tapestry.
Room Twenly-six— The dusty floor is marked by the tracks of large animals and
the air reeks of musk. The doors to (he north and south are of plain wood and
have no locks.
Room Twenty-seven—The floor bears the tracks of large animals. The partially
eaten carcass of an antman lies near the western end of the corridor. The door to
the north is brass-bound wood and stands unlatched. The air smells heavily of
decay and musk.
Room Twenty-eight —is a long, low-ceilinged room, lined with long stone tables
running in rows north and south across the room. The dusty floor shows the tracks
of large animals and the room reeks of musk and offal. The doors to the north and
south are wooden and have no locks.
Room Twenty-nine — is a smallish room furnished only with rotting cushions
strewn about the floor. Tattered tapestries hang on the east and west walls showing
scenes of obscene and bloody sacrifice before a mantis-shaped god. A shiny object
protrudes from beneath one of the cushions near the center of the room.
Room Thirty —is a passage with wooden doors to the north and south. The dusty
floor shows the tracks of large animals and the air reeks of musk. The empty
carapace of an antman lies at the eastern end of the passage.
Room Thirty-one — is a passage. The dusty floor shows the tracks of large
animals and the smell of musk is in the air. Faint clicking sounds can be heard from
the east end of the passage.
Room Thirty-two — is a long room with the ceiling and upper parts of the walls
covered with a heavy layer of soot. Three large stone ovens line the north wall and
a long griil occupies the eastern half of the south wall. The dusty floor shows the
tracks of large animals and the air reeks of musk.
L4-4
Room Thirty-three — is a small storeroom. Heaps of grain line the walls and a
dead giant rat rests in the southeast corner.
Room Thirty-four—is a room filled with shelves of rotting books and scrolls. A
desk stands near the brass-bound door to the north and a glass case occupies the
southwest corner of the room. Inside the case is a well preserved volume bound in
leather and bearing a tide in indecipherable script. The floor is covered with an even
layer of dust and ihe air smells of decay. The door to the east is wooden and hangs
ajar from its rusty hinges.
Room Thirty-five—A bed occupies the north wall with a desk on the south
wall and a large cabinet against the east wall. The dusty floor shows no signs of
disturbance.
Room Thirty-six—is a largish room with stonework walls, floor and ceiling. The
room is furnished with ramshackle chairs, tables and cushions and the remains of
books and scrolls lilter the apartment. A large desk and chair occupy the center of
the east wall.
Room Thirty-seven—The east end of this room holds a number of wooden
targets painted with human silhouettes. The southernmost target still has some
arrows stuck in it.
Room Thirty-eight—The floor of the room is covered with the remains of straw
mats. A variety of pieces of martial equipment litter the mats along the wails. In the
northeast corner, a bony elbow pokes through a rent in a suit of rusty chainmail.
A gnawed thighbone lies near the door.
Room Thtrly-nine— The dusty floor shows the tracks of large animals and the
air reeks of musk. A discarded backpack rests on the floor in the middle of the
passage. The door to ihe east is brass-bound oak.
Room Forty—The floor shows a worn path through the opening to the north and
the air smells of vanilla.
Room Forty-one—The dusty floor shows many tracks of large animals and the air
reeks of musk. The doors to the south and east are brass-bound wood. A moldy
sack rests in the easiern end of the passage.
Room Forty-two—The dusty floor shows no signs of disturbance although the air
smells faintly of vanilla. The corpse of a man in leather armor lies in the north end
of the corridor.
Room Forty-three—The doorway to the west is covered by a won tapestry and
the air smells of decay. Shelves line the east wall and hold a variety of articles forged
of shiny metal.
Room Forty-four—The south wall and ceiling of the passage are carved of native
rock. The dusty floor is much disturbed, especially near Ihe brass-bound wooden
door to the south. The corridor smells strongly of vanilla.
Room Forty-five—A faint trail in the dust runs the length of the corridor and the
air smells faintly of vanilla.
Room Forty-six — is a passage with stonework on the west wall and the other
walls, floor and ceiling of carved rock. The dusty floor shows a faint trail running
the length of the corridor along the west wall and a hint of vanilla is in the air. A
discarded backpack rests against the east wall in the north end of the passage.
L4-5
Room Forty-seven —is a passage like 46. The path in the dust continues along
the west wall. A rusty sword rests on the floor near the middle of the passage.
Room Forty-eight — is a passage like 46.
Room Forty-nine —is a passage with stonework on the south wall and the other
wall, floor and ceiling of carved rock. A faint path on the dusty floor leads along the
south wall and (he air smells slightly of vanilla. A broken bow and an empty quiver
rest against the north wall halfway down the passage.
Room Fifty—is a passage like forty-nine. The carpet of dust is slightly disturbed
near the eastern end of the passage, but is otherwise unbroken. The everpresent
smell of vanilla continues.
Room Fifty-one — is a passage like forty-nine. The floor is covered with an even
layer of dust and the air smells of decaying flesh. A small wooden box lies tipped
over on the floor in the middle of the corridor.
Room Fifty-two —is a passage with stonework on the south wall and the north
wall, floor, and ceiling of carved rock. The dusty floor shows no signs of disturbance
and the fetid air smells of ancient death.
Room Fifty-three—is a passage with stonework of the south and west walls and
the other walls, floor, and ceiling of carved rock. A moldering sack sits on the floor,
in the southwest corner of the corridor.
Room Fifty-four—is a passage with stonework on the south wall and the north
wall, floor and ceiling of carved rock. The dusty floor evidences some activity near
the south wall.
Room Fifty-five — is a passage with stonework on the south and east walls and the
other walls, floor, and ceiling of carved rock. The upper portion of the corridor is
sheathed in cobwebs and a larger web fills the south end of the passage. A small
sack lies near the west wall partway down the corridor, stiver pieces spilling from
its mouth.
Room Fifty-six—The dusty floor is marked with the tracks of targe animals and
the air smells of musk. A cleanly picked skeleton reclines against the west wall
halfway down the passage.
Room Fifty-seven — is a passage with stonework on the south wall and the north
wall, floor and ceiling of carved rock. A brass plate lies in the dust in the middle of
the corridor.
Room Fifty-eight—is a small alcove. The south wall is of carved rock. The air
smells strongly of vanilla and the floor shows frequent disturbance. A black stain
marks the floor near the east wall.
Room Fifty-nine—is a small entryway with the walls, floor and ceiling of stone
work. The dusty floor reveals frequent comings and goings and the air smells
strongly of vanilla.
Room Sixty —is the western extremity of room twenty-nine. The walls, floor and
ceiling are stonework. The floor is covered with the spoor of large animals and the
air reeks of rot and musk. A heap of partially eaten human and antman bodies fills
the southwest corner.
1043 Kiel Court, Sunnyvale, CA 94089
COPYRICI IT '* 1983, kPYX, INC.