TEXT: City of Brass
  6
  
  CREDITS
  Design: Richard Green, Jeff Grubb, Richard Pett, Steve Winter
  Development & Editing: Scott Gable
  Art Director & Graphic Design: Marc Radle
  Cover Art: Justine Jones
  Back Cover Art: Justine Jones
  Interior Art: Pedro Potier, Karl Waller
  Publisher: Wolfgang Baur
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  version 1.0a, Section 1(e), and are not Open Content: All trademarks, registered trademarks, proper names (characters, 
  place names, new deities, etc.), dialogue, plots, story elements, locations, characters, artwork, sidebars, and trade dress. 
  (Elements that have previously been designated as Open Game Content are not included in this declaration.)
  Open Game Content:  The Open content in this book includes the Jann monster stats, the clockwork monkey, clockwork 
  mynah bird, incense of recovery, sheeshah of revelations, and spice box of zest magic items, and the Spells from the Fire.  
  No other portion of this work may be reproduced in any form without permission.
  © 2018 Open Design
  www.koboldpress.com
  TABLE OF CONTENTS
  “On the City of Brass and the Hierarchy of the Genies” by Jeff Grubb  ..................................2
  “Bazaar of Ineffable Wonders” by Richard Green ......................................................................7
  “This Way to the City of Brass” by Steve Winter .......................................................................13
  “Spells from the Fire” by Steve Winter ........................................................................................17
  “The Curious Places You’ll Find” by Richard Pett ....................................................................22
  TM
  
  2
  ON THE CITY OF BRASS AND 
  THE HIERARCHY OF THE GENIES
  By Jeff Grubb 
  merchants of all stripes, confident of their 
  (relative) protection.
  The City of Brass is also a place of exile 
  and refuge. Demon lords who have lost their 
  home planes, archdukes on the outs with the 
  Infernal Hierarchy, and powerful wizards 
  who have crossed one too many patrons all 
  can be found within its walls. Some enjoy 
  their exile while others continually plot and 
  plan for their inevitable return to power. The 
  grand sultan—who like a wise father allows 
  his children their own futures—permits such 
  conspiring as long as it does not threaten the 
  Charcoal Throne.
  The confluence of so many peoples from so 
  many planes makes the city a great trading 
  hub where merchants from half a hundred 
  empires, planar layers, and demiplanes come 
  to seek out the unique and the expensive. 
  Dreams are for sale here as are hopes and 
  futures and birthrights. If it cannot be 
  found here, someone may be located in its 
  bathhouses and gambling dens who can find 
  it for a very affordable price. 
  Magic, in particular, is a currency in the 
  City of Brass, and trade is brisk. The grand 
  sultan—his wisdom be unquestioned—often 
  punishes those who violate his considerate 
  rule by imprisonment in enchanted iron 
  flasks for a century or two, and there are 
  said to be huge vaults of them beneath his 
  palace. Given the large number of prisoners, 
  it is little wonder that sometimes a flask or 
  ten are forgotten or fall into the hands of 
  O
  f all the settlements and all the citadels 
  to be found within the Elemental 
  Planes, the best known by far and the most 
  visited is the City of Brass, located in the 
  Plane of Elemental Fire. There are other 
  such cities, mighty metropolises in the other 
  Inner Planes, but the Burnished City sees 
  the greatest number of visitors—elemental, 
  infernal, and otherwise. 
  The chief reason for this is the ruling 
  inhabitants of the city: the efreeti, a powerful 
  genie race. The efreeti are black-hearted and 
  cruel but are bound both by honor and their 
  own legal codes, and this lawful tendency 
  makes their domain an ideal meeting ground 
  for different species from all the planes. 
  Under the wise oversight of Grand Sultan 
  Ixingaltrix—may his name ever be praised—
  the city is a crossroad and marketplace, a 
  prison, a refuge, and a neutral ground for 
  all who are willing to bend a knee and tug a 
  forelock in obeisance to its master’s rule. 
  The power of the grand sultan—be he ever 
  powerful—keeps the more malignant nature 
  of their fiery native plane at bay and provides 
  a safe haven where even a water-dwelling 
  marid can find comfort (though they 
  complain mightily about the dryness of the 
  air). His Most Wise Majesty rules with an 
  iron hand, and justice for those who do not 
  act in accordance with his wishes is both 
  swift and often fatal. As a result, the City of 
  Brass is a location that can host devils and 
  archons, demons and petty godlings, and 
  
  3
  others or are even removed and cast out into 
  the Material Plane, so the creatures within 
  cannot be found and freed at the end of 
  their sentence. Trade in such matters, and 
  everything else, is common here.
  The City of Brass is organized, and all 
  within know their place. The grand sultan—
  who hears when you speak his name—rules 
  wisely from his Charcoal Throne. He is well 
  served by six great pashas, also efreeti, who 
  serve as advisors and commanders of his 
  armies. The pashas, in turn, are the leading 
  lights of all the great and powerful noble 
  genies of the city, which are the mightiest of 
  their species, including sage djinni, dour dao, 
  and cunning marids. All these beings, while 
  
  4
  powerful, are considered less trustworthy 
  than an efreeti who gives their word (though 
  the exact wording should always be checked). 
  The efreeti consider themselves the most 
  honest of the genie peoples.
  Beneath the most noble of the genies are 
  the collection known to mortals simply 
  as genies (do not call them “common” or 
  “ordinary” at peril of one’s life). Within 
  the Burnished City, it is primarily efreeti, 
  of course, but also a number of the other 
  known races who form a sort of gentry to the 
  more powerful nobles. They have their own 
  bases of power and areas of expertise, and 
  many hold domains far from the city itself 
  and merely maintain villas within its walls or 
  come simply to conduct business.
  Beneath the genies themselves—sentient 
  creatures of pure elemental fury—are the 
  jann who, like the genies, are made of 
  elemental power but, unlike the genies, 
  have a muddled heritage, which consists of 
  a mix of primal elements. These beings are 
  responsible for the day-to-day work within 
  the city and are often seen as merchants, 
  magical researchers, overseers, instructors, 
  entertainers, and captains of the great planar 
  dromons. They maintain among themselves 
  the Para-Elemental Parliament for sorting 
  out their own matters in the service of the 
  greater genies that they are dedicated to.
  The jann themselves have servants, and 
  these include both powerful creatures—
  elemental and mortal—as well as those 
  whose primordial blood is mixed with those 
  of the mortal planes. These are the jinnborn, 
  mortal beings in whose blood flows the 
  elemental power of the genies and other 
  such creatures. Within the hierarchy of the 
  City of Brass, the jinnborn are the workers, 
  team bosses, clerks, guard captains, and 
  major domos who make sure all works like 
  clockwork within the Burnished Citadel. 
  The jinnborn are both mortal and 
  primordial, and serving them are the mortals 
  themselves. Most of these are slaves, for 
  within the city, slavery is a recognized fact. 
  Easily identified by a copper band around 
  the neck, creatures of all mortal species 
  find their way there as slaves. Some are 
  voluntary, rescued from death by jann 
  traders who offer salvation in exchange 
  for servitude. Some are victims, taken in 
  raids led by efreeti hunting parties. Some 
  are merely unfortunate, allowed to work 
  off a debt or a bet with servitude. Slavery is 
  recognized and protected within the city, 
  and the grand sultan—may his protection 
  always extend over us all—deals harshly with 
  those who seek to overturn the established 
  order. Rebellious or untrustworthy slaves 
  may be sold to clients in other planes or 
  merely cast out of the city into the seething 
  chaos that surrounds it.
  Mortal visitors are treated better than 
  slaves, and in general, within the social 
  pecking order, they are at the same level as 
  jinnborn; the most powerful are equivalent 
  in status to jann or run-of-the-mill genies. 
  Those visitors with a fire-based background 
  (some dragons, some devils, some giants) 
  are particularly welcome. Travelers with 
  magical abilities are more highly valued and 
  respected than those without, and those with 
  the ability to create—be it in song, dance, or 
  story—have the greatest value of all. Indeed, 
  such individuals risk being spirited away and 
  bound with a copper torc by a more powerful 
  genie who finds them appealing. 
  Visitors to the City of Brass are hereby 
  warned: this is a place of great order, but it 
  is an order alien to many from other planes. 
  The law of the grand sultan—may his years 
  be eternal—is absolute, shaded only by the 
  mercy of his court. Come to the city, trade 
  in its bazaars, browse the iron-shod books 
  of its great libraries, sup with devils and 
  demons and exiled princes, but watch your 
  own step lest you be fitted for a copper torc 
  or an iron flask.
  
  5
  Jann of the Burnished City
  The genies of the Elemental Planes keep 
  slaves, but they also need servants—
  individuals powerful enough to run their 
  petty citadels and elemental empires but not 
  rise to become rivals to their power. These 
  are the jann, beings made of multiple primal 
  elements. A beautiful people of striking 
  appearance and demeanor, they suffer the 
  egos of their masters and keep such great 
  metropolises as the City of Brass in some 
  sense of order.
  Made of Many Elements. While the genies 
  represent a purity of their elemental types, 
  the jann are the grand sultan’s middlemen:
  • The House of Ooze is made up of those 
  jann for whom primordial water and 
  earth are dominant. Its people have oily, 
  supple skin and tend toward green eyes. 
  They rarely speak in certitudes and serve 
  as the dealers, healers, and alchemists 
  for their genie masters. 
  • The House of Smoke is made up of those 
  jann for whom primordial fire and air 
  are dominant. Its members have dry skin 
  and hair, which breaks up as a cloud 
  behind them. They tend toward grey 
  eyes, and their changeable nature makes 
  them skilled diplomats and entertainers. 
  • The House of Magma is made up of 
  those jann for whom primordial fire and 
  earth are dominant. They have red eyes 
  and often a shock of red hair among the 
  dark strands. They are the soldiers and 
  raiders of domains, such as the City of 
  Brass, and often venture into the Prime 
  Material with slave-catching parties. 
  • The House of Ice is made up of those 
  jann for whom primordial water and 
  air are dominant. They have blue eyes 
  and white hair, sometimes only a few 
  strands but often their entire head 
  is covered with ivory locks. They are 
  considered patient and serve as guards, 
  jailors, and collectors.
  A Para-Elemental Parliament. The jann 
  within the City of Brass and in other 
  great genie domains operate as a second 
  government, a bureaucracy that keeps 
  matters on an even keel and keeps any one 
  faction or personality from upsetting the 
  status quo and demanding the attention 
  of the great sultan—may his people always 
  prosper. This Para-Elemental Parliament 
  does not seek power for itself but will 
  balance one group against the others to 
  keep the peace. 
  Free People of the Desert. Not all jann are 
  pleased with the serving of more powerful 
  genies, and some flee to form their own 
  societies in the barren and arid places of the 
  world. Gathering mortals in their wake, they 
  form large caravans and dominate desert 
  oases with their opulent tent cities. Some 
  go further, encouraging rebellion against 
  their former masters and freeing slaves that 
  have been unjustly captured. Their ability 
  to shift among the elemental planes makes 
  them hard to catch, and their relationship 
  (familial or social) with members of the 
  Para-Elemental Parliament makes the 
  city-bound jann sympathetic to their cause. 
  JANN
  Medium elemental, neutral
  Armor Class 16 (natural armor)
  Hit Points 95 (10d8 + 50)
  Speed 30 ft., fly 60 ft.
  STR 
  DEX 
  CON 
  INT 
  WIS 
  CHA
  18 (+4) 16 (+3) 20 (+5) 
  14 (+2) 14 (+2) 18 (+4)
  Saving Throws Int +5 Wis +5 Cha +7
  Condition Immunities See Para-elemental 
  Nature below.
  Senses Darkvision 120 ft, passive Perception 13
  Languages Aquan, Auran, Ignan, Terran 
  Challenge 8 (3,900 XP)
  
  6
  Breathless. Jann have no need to breathe, 
  though do so out of courtesy or in order to 
  speak. They cannot drown or be victims of 
  poisonous gas or other attacks that require 
  breathing.
  Elemental Demise. If the jann dies, their 
  body disintegrates into its elemental parts (a 
  puddle of ooze, a wisp of smoke, the embers 
  of magma, or melting shards of ice), leaving 
  behind only the equipment the jann was 
  wearing or carrying. 
  Innate Spellcasting. The jann’s innate 
  spellcasting ability is Charisma (spell save DC 
  16, + 8 to hit with spell attacks). They can 
  innately cast the following spells, requiring no 
  material components:
  3/day: invisibility
  2/day each: enlarge/reduce, speak with 
  animals
  1/day each: create food/water, etherealness, 
  planeshift (Material and Elemental 
  Planes only)
  Para-elemental Nature. Jann 
  are made of a mixture of 
  all primordial elements but 
  fall into one of four houses or 
  kingdoms, each with differing 
  abilities: 
  • House of Ooze—
  Damage resistance to 
  piercing weapons.
  • House of Smoke—
  Damage resistance to 
  slashing weapons.
  • House of Magma—
  Immunity to fire.
  • House of Ice—Immunity 
  to cold.
  ACTIONS
  Multiattack. The jann 
  makes two great scimitar 
  attacks or two longbow 
  attacks. If armed with two 
  scimitars, they may make 
  two scimitar attacks and one 
  bonus scimitar attack.
  Great Scimitar (Treat as Greatsword).  
  Melee Weapon Attack: +8 to hit, reach 5 ft., 
  one target. Hit: 11 damage (2d6 + 4) slashing 
  damage.
  Scimitar. Melee Weapon Attack: +8 to hit, 
  reach 5 ft., one target. Hit: 7 damage (1d6 + 4) 
  slashing damage. The bonus attack, if it hits, 
  deals only 3 (1d6) slashing damage. 
  Longbow. Ranged Weapon Attack: +7 to hit, 
  range 150/600 ft., one target. Hit: 7 damage 
  (1d8 + 3) piercing damage.
  REACTION
  Parry. The jann adds +3 to their AC against one 
  melee attack that would hit them. To do so, 
  the jann must see the attacker and be wielding 
  a melee weapon.
  
  7
  BAZAAR OF  
  INEFFABLE WONDERS
  by Richard Green 
  along the Street of Amphorae until you 
  come to a small temple with a cobalt dome. 
  There is a brass plate on its wooden door 
  depicting an armored knight mounted on 
  a war camel. Rub the nail set in the rider’s 
  navel twelve times to open the portal.
  Step through the glowing red doorway, 
  and you will find yourself on the bustling 
  streets of one of the greatest cities in the 
  multiverse—the City of Brass, home to the 
  efreeti and their powerful grand sultan. The 
  city is rightly famed across the planes for its 
  markets, bazaars, and souks. Here, a visitor 
  can find many wondrous things available 
  for sale. The trick is knowing where to look. 
  One promising spot where I have made a 
  number of worthwhile purchases over the 
  years is the Bazaar of Ineffable Wonders, a 
  splendid covered market on the banks of the 
  Incandescent Canal, not far from the Blazing 
  Mosque. The bazaar is built from basalt in 
  the shape of a giant cross—each section 
  is over 300 yards long and can be entered 
  through one of four impressive gates.
  The bazaar’s roof is topped with a series 
  of copper domes adorned with gold filigree, 
  and rectangular windows high in the walls 
  bath the interior in the eerie, red light of 
  the Plane of Elemental Fire. At the central 
  Author’s Note. Parts of this article are taken from the Nine Chthonic Papyri of Heknusret the 
  Temerarious, former member of the Honorable Society of Portal Wizards, a secretive order of 
  Nurian mages based in the city of Per-Anu who seek to control the mysterious Red Portals. 
  H
  eknusret travelled through dozens of 
  Red Portals to many different times, 
  places, and worlds, often with little regard 
  for his own safety, meticulously recording 
  his discoveries in a collection of scrolls 
  known as the Chthonic Papyri which he 
  kept in a leather scroll case embossed with 
  the symbols of Anu-Akma, Lord of the 
  Underworld—a golden ankh and scythe.
  Heknusret was expelled from the society 
  for his failure to safeguard the secrets of 
  the portal wizards when his scroll case was 
  stolen during a visit to the River King’s 
  Court in the Arbonesse. Copies of the 
  Chthonic Papyri have since appeared for 
  sale in markets of cities such as Bemmea 
  and Mhalmet and always fetch astronomical 
  prices. But owning these scrolls is 
  dangerous—the portal wizards actively hunt 
  and eliminate anyone in possession of their 
  lore who is not a member of the society. 
  A Visit to the Bazaar
  A number of Red Portals lead to the fabled 
  City of Brass, but I have always found the 
  most reliable to be the one located in Kel 
  Azjer, the hidden city of the Tamasheq. 
  Head east from the Plaza of the Aeromancer 
  
  8
  point, where the four arms of the cross 
  meet, is a much larger dome; the inside of 
  this impressive cupola is decorated with 
  a spectacular mosaic of gold and glass 
  tesserae of dazzling colors, depicting the 
  Grand Sultan Ixingaltrix holding court in 
  his throne room as the other genie lords 
  prostrate themselves before him. 
  The Bazaar of Ineffable Wonders holds 
  over 500 shops, selling all manner of 
  marvelous things, many of which I have 
  only ever seen for sale here. As they are in 
  the Southlands, shops selling similar goods 
  are often clustered together, making it hard 
  to find the particular establishment you 
  seek. As you wander through the bazaar, 
  the heady smells of incense, tobacco, and 
  roasting meats merge with the pungent 
  aromas of exotic spices, herbs, and oils. 
  There are magical items to buy here, of 
  course, but there are mechanical wonders 
  too, and a visitor in search of a beautiful 
  carpet, a finely wrought weapon, or a rare 
  tome will not leave disappointed.
  MUBARAK’S EMPORIUM  
  OF MECHANICAL MARVELS
  Whenever I visit the bazaar, I make a point 
  of stopping at Mubarak’s Emporium to see 
  his newest clockwork inventions. Like most 
  shops in the bazaar, Mubarak’s is packed 
  with merchandise, its contents spilling 
  out into the walkway. Larger mechanicals, 
  including a clockwork steed and a bronze 
  scorpion, stand outside while the shelves 
  and display cases inside are filled with all 
  manner of smaller, more intricate items. 
  Mubarak al-Hariq, an irascible azer 
  clockwork mage, runs the emporium and 
  crafts everything for sale here himself. He 
  makes his bigger pieces in a workshop 
  elsewhere in the city but builds the smaller 
  clockworks right in the shop, and I usually 
  find him tinkering with some kind of 
  mechanism or other on his workbench 
  whenever I visit. Abdul, a mechanical 
  monkey, acts as his assistant, fetching tools, 
  gears, and screws from a cabinet with many 
  small drawers. Occasionally he produces 
  the wrong item, prompting a frustrated 
  Mubarak to swear colorfully at him in Ignan.
  Mubarak greets new customers with 
  suspicion and a scowl but is the most 
  talented clockworker I have ever met, 
  and he talks animatedly with those who 
  know and appreciate clockwork magic 
  and automata. If you are looking for a 
  mechanical helper or clockwork gadget, this 
  is the place to come.
  MUBARAK AL-HARIQ
  (Azer Clockwork Mage)
  Medium elemental, neutral evil
  Armor Class 15 (natural armor)
  Hit Points 91 (14d8 + 28)
  Speed 30 ft.
  STR 
  DEX 
  CON 
  INT 
  WIS 
  CHA
  17 (+3) 12 (+1) 15 (+2) 20 (+5) 13 (+1) 10 (+0)
  Saving Throws Con +6, Int +9, Wis +5
  Skills Arcana +9, Religion +9
  Damage Immunities fire, poison
  Condition Immunities poisoned
  Senses passive Perception 15
  Languages Ignan
  Challenge 10 (5,900 XP)
  Clockworker’s Charm. Whenever Mubarak 
  casts animate construct, the duration of the 
  spell is increased by 4 minutes.
  Golem Form. Mubarak can transform himself 
  into a golem or clockwork creature of CR 10 
  or less for up to 10 minutes. He retains his 
  Intelligence, Wisdom, and Charisma and the 
  ability to speak and cast spells. Otherwise, this 
  functions as the druid’s Wild Shape ability.
  Heated Body. A creature that touches Mubarak 
  or hits him with a melee attack while within 5 
  feet of him takes 5 (1d10) fire damage.
  Heated Weapons. When Mubarak hits with a 
  metal melee weapon, he deals an extra 3 (1d6) 
  fire damage (included in the attack).
  Illumination: Mubarak sheds bright light in a 
  10-foot radius and dim light for an additional 
  10 feet.
  
  9
  Spellcasting. Mubarak is a 14th-level 
  spellcaster. His spellcasting ability is 
  Intelligence (spell save DC 17, +9 to hit with 
  spell attacks). He has the following wizard 
  spells prepared: 
  Cantrips (at will): fist of iron*, light, mage 
  hand, mending, tick stop*
  1st level (4 slots): animate construct*, burning 
  hands, gear shield* machine speech*
  2nd level (3 slots): gear barrage*, shatter, 
  winding key*
  3rd level (3 slots): dispel magic, overclock*, 
  thousand darts* 
  4th level (3 slots): absolute command*, 
  dimension door, grinding gears*, steam blast* 
  5th level (2 slots): animate objects, 
  mechanical union* 
  6th level (1 slot): catapult*, chain lightning
  7th level (1 slot): reverse gravity
   *Clockwork spell (see Midgard Heroes Handbook)
  ACTIONS
  Command Construct. One construct that 
  Mubarak can see within 60 feet must succeed 
  on a DC 17 Intelligence saving throw or 
  become friendly to the mage and obey his 
  commands. This effect lasts for 1 hour, until 
  the mage uses this ability again, or until the 
  construct takes damage from Mubarak or his 
  allies. If the saving throw is failed by 5 or more, 
  the duration is extended to 6 hours or until 
  one of the other conditions is fulfilled. When 
  the effect ends, the construct is aware it was 
  controlled by Mubarak. 
  Hammer. Melee Weapon Attack: +7 to hit, reach 
  5 ft., one target. Hit: 7 (1d8 + 3) bludgeoning 
  damage, or 8 (1d10 + 3) bludgeoning damage 
  if used with two hands to make a melee attack, 
  plus 3 (1d6) fire damage.
  Mubarak al-Hariq has lived in the City of 
  Brass for over a century. Like most azer, 
  he dislikes the efreeti who make up the 
  majority of his customers, but he doesn’t 
  much care for humans either, preferring the 
  company of his clockwork “friends.”
  Already a master of his craft, Mubarak 
  spends his time constantly inventing new 
  clockwork devices and automata. Some of 
  these constructs and gizmos are dangerous 
  or unpredictable, but this doesn’t concern 
  Mubarak. The azer can call upon several 
  clockwork creatures, including clockwork 
  hounds and myrmidons (see Tome of 
  Beasts), to defend his shop from robbers or 
  other troublemakers.
  Adventure Hooks
  There’s always a lot happening in the bazaar:
  • Mubarak sold an ornithopter for a huge 
  price to Mushir Faruq Mutakabbir, an 
  influential efreeti noble, but regrettably 
  he has not yet received payment. The 
  azer plans to visit the great duke to 
  raise the matter and is looking to hire 
  a group of impressive bodyguards to 
  accompany him.
  • Irfan al-Zarqa, wealthy sybarite and 
  friend of the Sultan of Siwal, solved 
  an ancient, bronze puzzle box said to 
  open a portal to a “realm of ultimate 
  sensation.” Irfan is now trapped in this 
  other dimension and the sultan would 
  like his friend back. Can Mubarak 
  reopen the puzzle box, so the PCs can 
  mount a rescue mission?
  • An elderly fire jinnborn named Saffiyah 
  al-Razzaq purchased a clockwork 
  device from Mubarak designed to slow 
  the aging process. When she took the 
  spider-shaped contraption home, it 
  attached itself to her arm, piercing 
  her skin with its needle-like legs. She 
  immediately felt healthier and stronger, 
  and the wrinkles on her face faded away. 
  The drawback is that she must drain 
  the vitality of the young every night to 
  power the device. Now she is stalking 
  innocent victims throughout the city, 
  leaving shriveled husks in her wake. Can 
  the PCs put an end to the killings and 
  confront Mubarak who has several more 
  of these devices for sale?
  
  10
  Other Notable Shops
  In my visits to the bazaar over the years, a lot 
  of establishments have come and gone, but 
  these have stood the test of time, becoming 
  beloved institutions with a loyal clientele.
  Char and Scorch are a pair of dim-witted 
  magma mephits that run the Big Grill, a 
  place selling a wide variety of smoked and 
  barbecued meats—everything from auroch 
  and giant elk to roasted gorgon and purple 
  worm steaks. The meat is generally served 
  very well done and is coated with a nearly 
  inedible spicy glaze made with very hot 
  infernal chilies (DC 18 Constitution saving 
  throw or become poisoned for one minute, 
  save ends). 
  Hook—A regular efreeti customer 
  has demanded a unicorn steak pita for 
  tomorrow’s lunch and the two mephits  
  have no idea where to source the  
  meat from. Are the PCs  
  willing to help?
  Bel’shun’s Smoker’s Paradise is a shop 
  selling all manner of sweet-smelling 
  tobaccos and exotic incense, many of 
  which have magical properties, as well 
  as beautifully made water pipes sized for 
  humans, efreeti, and fire giants. Bel’shun is 
  a fire jinnborn whose powerful jinn patron 
  lives in an opulent mansion in the smartest 
  part of the city. Bel’shun has brick red skin, 
  golden hair, and a long aquiline nose; he 
  dresses in a djellaba of crimson silk adorned 
  with gold coins and other trinkets. His deep 
  black eyes flicker with a blue flame when he 
  is nervous. 
  Hook—One of Bel’shun’s customers 
  experienced a strange vision in which the 
  PCs appeared, battling an angry genie 
  whom they had inadvertently freed from a 
  copper urn.
  
  11
  The Shackle Shop specializes in 
  unbreakable chains, iron slave collars, 
  bronze manacles, and branding irons 
  marked with the sigils of efreeti noble 
  houses—everything a cruel overseer needs 
  to keep their slaves in line. Lysandrix, a 
  salamander and former efreeti slave, was 
  given his freedom by his master after three 
  decades of loyal service. He set up this 
  shop in the bazaar and made money off the 
  misery of his kin and wretched humanoids. 
  Lysandrix’s forge work is of superior 
  quality: the DC to break one of his chains 
  or pick the lock of his manacles is 10 higher 
  than normal. 
  Hook—Lysandrix’s sister is still a slave, and 
  the salamander’s former master has ignored 
  his pleas to grant her freedom. Lysandrix 
  offers the PCs a set of magical dimensional 
  shackles as a reward for sneaking into the 
  efreeti’s estate and unlocking his sister’s 
  manacles with the key he provides. 
  Pyramids of Spice is an aptly named 
  shop near the Brimstone Gate, one of the 
  bazaar’s four entrances. Dozens of brightly 
  colored mounds of different spices, herbs, 
  and teas sit in wooden trays on the tables 
  filling this shop. The owner is a red-scaled, 
  fire-breathing dragonkin named Ansa 
  Khetek, a spice merchant originally from the 
  Southlands of Midgard who came to the City 
  of Brass twelve years ago to trade in exotic 
  chili peppers, saw an opportunity, and never 
  left. Ansa sells her wares to some of the 
  city’s finest restaurants and wealthiest efreeti 
  nobles, including the grand sultan himself. 
  She has an incredible sense of smell and 
  ironclad (but also very refined) taste buds. 
  Hook—The last batch of infernal chilies 
  Ansa purchased from her supplier was 
  not hot enough, and her customers are 
  complaining. She needs a fresh batch 
  urgently and is willing to pay the PCs a 
  hefty fee if they will fetch her some from the 
  Eleven Hells. 
  MARVELOUS MECHANICALS  
  AND OTHER WONDERS
  PCs visiting the bazaar in search of unusual 
  items should not be disappointed. Here is a 
  sample of the merchandise available.
  Clockwork Monkey
  Wondrous item, rare
  Built by Mubarak al-Hariq—who uses one 
  of these mechanical monkeys as a helper in 
  his workshop—it is fashioned from copper 
  and stands about a foot tall, wearing a little 
  felt fez atop its metal head. The monkey is 
  friendly to you and your companions and 
  obeys your spoken commands. If you issue 
  no commands, the monkey amuses itself 
  by dancing and capering on the spot or 
  hanging from a lamp fitting with its tail. 
  CLOCKWORK MONKEY
  Tiny construct, unaligned 
  Armor Class 15 (natural armor)
  Hit Points 2 (1d4)
  Speed 20 ft., climb 20 ft.
  STR 
  DEX 
  CON 
  INT 
  WIS 
  CHA
  10 (+0) 16 (+3) 10 (+0) 9 (−1) 8 (−1) 8 (−1)
  Skills Acrobatics +7, Athletics +2, Sleight of 
  Hand +5
  Damage Immunities poison, psychic
  Condition Immunities exhaustion, poisoned 
  Senses passive Perception 9 
  Languages understands Ignan 
  Challenge 0 (10 XP)
  Expert Lockpicker. The clockwork monkey has 
  expertise with thieves’ tools (+7).
  Immutable Form. The clockwork monkey is 
  immune to any spell or effect that would alter 
  its form. 
  Magic Resistance. The clockwork monkey has 
  advantage on saving throws against spells and 
  other magical effects. 
  ACTIONS 
  Bite. Melee Weapon Attack: +1 to hit, reach 5 
  ft., one target. Hit: 2 (1d4) piercing damage. 
  
  12
  Clockwork Mynah Bird
  Wondrous item, rare
  Another Mubarak al-Hariq creation, this 
  mechanical brass bird is nine inches long 
  from the tip of its beak to the end of its 
  tail. If you use your action to speak the first 
  command word (“listen” in Ignan), it cocks 
  its head and listen intently to what is being 
  said for up to 10 minutes. When you give 
  the second command word (“speak”), it will 
  repeat back what it has heard in a metallic-
  sounding—though reasonably accurate—
  portrayal of the speakers’ voices. 
  You can use the clockwork mynah bird to 
  relay conversations it has heard to others. 
  You can command the mynah to fly to a 
  location it has previously visited, where 
  your friend or contact can use the command 
  word to get it to repeat back what it has 
  heard. The mynah bird returns to you as 
  soon as it has carried out this task. 
  The clockwork mynah bird has AC 14, 1 
  hp, and a fly speed of 50 ft.
  Incense of Recovery
  Wondrous item, rare
  This block of perfumed incense appears to 
  be normal, nonmagical incense until lit. 
  The incense burns for one hour and gives 
  off a lavender-like scent, accompanied by 
  pale mauve smoke. If you are a spellcaster, 
  you can recover a single expended spell slot 
  following a short rest that takes place while 
  the incense is burning. 
  Sheeshah of Revelations
  Wondrous item, rare (requires attunement)
  This finely crafted water pipe is made from 
  silver and glass. Its vase is etched with 
  arcane symbols. When you use the sheeshah 
  to smoke normal or flavored tobacco, you 
  enter a dreamlike state and are granted a 
  cryptic or surreal vision giving you insight 
  into your current quest or a significant 
  event in your near future. The GM will 
  describe your vision to you. 
  Using the sheeshah of revelations is 
  physically taxing. You emerge from the 
  dreamlike state with a level of exhaustion. 
  You cannot use the sheeshah again until the 
  events hinted at in your vision have come 
  to pass.
  Spice Box of Zest
  Wondrous item, very rare
  This small, square wooden box is 
  carved with scenes of life in the City of 
  Brass. Inside, the box is divided into six 
  compartments, each holding a different 
  magical spice. A small wooden spoon is also 
  stored inside the box for measuring. A spice 
  box of zest contains six spoonfuls of each 
  spice when full. 
  You can add one spoonful of a single spice 
  per person to a meal that you or someone 
  else is cooking. If you add two or more 
  spices, a culinary mishap may ensue. 
  The spices have the following effects on 
  those consuming the meal and last for one 
  hour unless otherwise indicated:
  Baharat—Your Strength score increases 
  to 21. 
  Cassia—You are no longer suffering the 
  effects of exhaustion.
  Cloves—You cannot become frightened. 
  Fiery Chilies—You can use a bonus action 
  to exhale fire in a 15-foot cone. The target 
  must make a DC 13 Dexterity saving 
  throw or take 3d6 fire damage on a failed 
  save or half damage on a successful one. 
  The effect ends after you have used your 
  fiery breath or after one hour, whichever 
  comes first.
  • Saffron—You become charmed by 
  the next creature you see 10 minutes after 
  eating the meal. If the creature is of a species 
  and gender you are normally attracted to, 
  you regard it as your true love while you are 
  charmed.
  • Turmeric—You have advantage on 
  saving throws against spells.
  
  13
  THIS WAY TO THE  
  CITY OF BRASS
  by Steve Winter
  O
  f all the infinite locations outside the 
  Material Plane, the most iconic may 
  well be the City of Brass. It’s the type of 
  place where any GM would love to set an 
  adventure and where most adventurers 
  would love to wander. Still, they need a 
  good reason to go there; bold adventurers 
  don’t travel as tourists.
  Any of these hooks can be used to push, 
  pull, or drop characters into the Plane of 
  Elemental Fire and the legendary City of 
  Brass. Here, they’re grouped into three 
  categories based on which approach they 
  take: pushing, pulling, or dropping.
  Pushes
  A push-type hook is one that has its roots 
  outside the Plane of Elemental Fire, but 
  for one or more reasons, characters can’t 
  accomplish their objective without visiting 
  the City of Brass. Many of these involve 
  the characters being hired or otherwise 
  employed to visit the City of Brass for some 
  specific reason:
  1. The characters’ patron has a message 
  or an item that must be delivered to a 
  specific creature in the City of Brass. 
  The recipient is either difficult to find 
  or difficult to get an audience with. As 
  a variant, the “package” for delivery is 
  another sentient creature who doesn’t 
  want to be handed over.
  2. The City of Brass is protected against the 
  searing heat of the Plane of Elemental 
  Fire, so it’s more hospitable to creatures 
  not native to the plane than are the 
  surrounding environs. The characters’ 
  patron wants to know how that 
  astounding feat is accomplished.
  3. The characters were put in charge of 
  safeguarding an especially valuable item 
  or location while its owner was away. 
  An efreeti showed up, caused all sorts 
  of havoc and destruction, stole the item, 
  and fled with it back to the Plane of 
  Elemental Fire. To fulfill their obligation, 
  the characters need to get it back.
  4. A powerful individual or consortium 
  wants to know more about the defenses 
  and military strength of the grand 
  sultan. The characters are sent to the 
  City of Brass under cover of being 
  traders or diplomats to scout the city’s 
  defenses. They must get into areas that 
  outsiders are barred from entering 
  and assess the strength of the grand 
  sultan’s preparations. Alternatively, the 
  characters could be sent to learn the ins 
  and outs of efreeti customs and etiquette 
  in preparation for a major diplomatic 
  mission from the Material Plane.
  
  14
  5. Someone is stirring up trouble 
  between efreeti and mortals, breaking 
  generations-old agreements in ways 
  that offend or harm both sides. No one 
  knows who’s behind these outrages 
  or why, but unless they’re stopped, 
  war may result. The characters’ patron 
  believes the answer can be found in the 
  back alleys and discontented underbelly 
  of the City of Brass. Characters may 
  be able to call on limited aid from the 
  grand sultan to uncover the culprits, 
  but the pashas can’t be seen taking sides 
  with mortals against their own subjects.
  6. Emissaries of the efreeti contacted the 
  characters’ patron with a message that 
  they have a delicate task for a group 
  of mortals who broadly fit the party’s 
  description. When characters arrive 
  in the City of Brass, efreeti emissaries 
  “recognize” the characters as the 
  subjects of an ancient efreeti prophecy 
  on which the fate of the city depends.
  Pulls
  A pull-type hook is one that has its roots 
  in the City of Brass. The adventure doesn’t 
  necessarily start there, but that’s where it’s 
  likely to end:
  1. Characters are on the trail of an 
  infamous and powerful criminal, and 
  indications point to him having fled 
  to the City of Brass. Characters must 
  bring him back to the material world for 
  justice and smooth over any uproar he 
  causes in the Plane of Elemental Fire.
  2. A vital ritual can be completed only with 
  flame from the Burning Palace of the 
  Grand Sultan. The grand sultan doesn’t 
  normally allow this flame to be taken 
  out of his palace, so characters must 
  infiltrate and steal it and then escape 
  back to their own realm with the flame 
  still lit.
  3. At the end of a long adventure to capture 
  a dangerous artifact, characters learn 
  that it can be destroyed only in a sacred 
  pillar of flame in the City of Brass—but 
  doing so will also extinguish the flame.
  4. A request for help has been received 
  across dimensions. The grand sultan 
  wants one of his own kind eliminated 
  or punished, but for inscrutable legal 
  or political reasons, the dirty deed can’t 
  be done by other efreet. The characters’ 
  patron is a longtime ally of the efreeti, so 
  he offers the job to them.
  5. Love survives across dimensions! The 
  NPC spouse or lover of one of the 
  characters disappears into the City 
  of Brass. The NPC might have been 
  kidnapped by an efreeti who’s in love 
  with the same person, for revenge 
  against the characters, or the NPC might 
  have left voluntarily to escape from 
  what he or she now sees as a dead-end 
  relationship.
  6. A portal to the Plane of Elemental Fire 
  has opened in town and fire elementals 
  are coming through, causing raging 
  conflagrations. Characters must deal 
  with the elementals, travel through the 
  portal to the City of Brass, find a way to 
  close it from other side, and then find a 
  way back home without the portal.
  Drops
  A drop-type hook is one that doesn’t give 
  the characters much choice. They’re going 
  to the City of Brass whether or not they 
  want to:
  1. A magic portal, a teleportation spell, 
  or some other means of instantaneous 
  travel goes haywire. Instead of arriving 
  at their expected destination, the 
  characters suddenly find themselves in 
  the City of Brass without the means to 
  turn around and jaunt back home.
  
  15
  2. A large building the characters are 
  staying in—an aristocrat’s palace or a 
  major inn, for example—catches fire 
  during the night. Try as they might to 
  escape, the characters find themselves 
  completely hemmed in by roaring 
  flames. As the flames and heat wash 
  over them, the characters expect only a 
  horrible death, but when they open their 
  eyes, they find themselves alive by some 
  miracle and in the City of Brass.
  3. The characters just pulled off a 
  tremendously successful tomb-looting 
  expedition. As they sift through the 
  heap of well-earned treasure, they find 
  a sealed crystal bottle that contains 
  an efreeti. After a tough negotiation 
  for their three wishes, they unstopper 
  the vial and release its prisoner—who 
  immediately reneges on all his promises 
  and magically transports everyone to 
  the City of Brass.
  
  16
  4. The characters are passengers on a 
  sailing ship, looking forward to an 
  uneventful crossing. Another passenger, 
  however, has brought an efreeti bottle 
  aboard and, at some point, opens it. 
  The efreeti kills the bottle’s owner and 
  attacks whoever else it finds aboard. 
  When characters and other passengers 
  finally have the enraged efreeti cornered 
  and at death’s door, it triggers a failsafe 
  magical effect that hijacks the ship and 
  all its contents to the City of Brass.
  5. Characters find themselves sharing an 
  inn’s common room with an efreeti 
  disguised as a dragonkin. Without 
  realizing the true nature of their 
  companion, the characters say or do 
  something that offends its rigorous 
  sense of honor or etiquette. No efreeti 
  would put up with such an affront, so 
  it transports all of them to the City of 
  Brass and locks them in the dungeon of 
  its fiery home.
  6. Someone or something in the City of 
  Brass casts the efreeti’s version of a 
  conjure mortals spell, and the player 
  characters were the unlucky creatures 
  pulled through the ether to perform 
  a short term of service in the Plane of 
  Elemental Fire.
  What a Twist!
  Any hook can be spiced up with an 
  unexpected twist. To add a peculiarity to 
  any hook, roll 1d6:
  1. The characters are somehow stuck with a 
  demon as an ally.
  2. Characters must accomplish their 
  objective without killing anyone.
  3. The patron who brought them in on this 
  mission actually wants them to fail.
  4. If the mission succeeds, innocent people 
  will be hurt by it.
  5. While in the City of Brass, characters 
  are mistaken for another, similar group 
  of mortals who caused a lot of trouble 
  recently.
  6. The actual goal is very different from 
  what characters were told. Their patron 
  concocted an elaborate story to get 
  them to bring a specific item into the 
  Burning Palace where it will magically 
  transform into a powerful killer bent on 
  assassinating the grand sultan. Unless 
  characters stop it, they’ll wind up with 
  the blame.
  
  17
  SPELLS FROM THE FIRE
  by Steve Winter
  T
  hese fourteen spells are suitable for a 
  campaign that visits the City of Brass 
  or that takes place in a setting where fire, 
  heat, and the desert loom large, such as the 
  Southlands. They’re geared toward wizards, 
  but there’s no reason why sorcerers and 
  warlocks—or even clerics and druids—
  can’t have access to them if you decide it’s 
  appropriate in your campaign.
  1ST LEVEL
  AVERT EVIL EYE
  1st-level abjuration
  Casting Time: 1 action
  Range: Touch
  Components: V, S, M (a blue bead)
  Duration: 1 hour
  The evil eye takes many forms. Any incident 
  of bad luck can be blamed on it, especially if 
  a character recently displayed arrogance or 
  selfishness. When avert evil eye is cast, the 
  recipient has a small degree of protection 
  against the evil eye for up to 1 hour. While 
  the spell lasts, the target of the spell has 
  advantage on saving throws against being 
  blinded, charmed, cursed, and frightened. 
  During the spell’s duration, the target can 
  also cancel disadvantage on one d20 roll the 
  target is about to make, but doing so ends 
  the spell’s effect.
  CANDLE’S INSIGHT
  1st-level divination
  Casting Time: 1 action
  Range: 10 feet
  Components: V, S, M (a blessed candle)
  Duration: 10 minutes
  Candle’s insight is cast on its target as the 
  component candle is lit. The candle burns 
  for up to 10 minutes unless it’s extinguished 
  normally or by the spell’s effect. While the 
  candle burns, the caster can question the 
  spell’s target, and the candle reveals whether 
  the target speaks truthfully. An intentionally 
  misleading or partial answer causes the 
  flame to flicker and dim. An outright 
  lie causes the flame to flare and then go 
  out, ending the spell. The candle judges 
  honesty, not absolute truth; the flame burns 
  steadily through even an outrageously false 
  statement, if the target believes it’s true.
  Candle’s insight is used across society: 
  by merchants while negotiating deals, 
  by inquisitors investigating heresy, and 
  by monarchs as they interview foreign 
  diplomats. In some societies, casting 
  candle’s insight without the consent of the 
  spell’s target is considered a serious breach 
  of hospitality.
  
  18
  2ND LEVEL
  DAGGERHAWK
  2nd-level transmutation
  Casting Time: 1 action
  Range: Self
  Components: V, S, M (a dagger)
  Duration: 1 minute
  When daggerhawk is cast on a mundane 
  dagger, a ghostly hawk appears around 
  the weapon. The hawk and dagger fly into 
  the air and make a melee attack against 
  one creature you select within 60 feet, 
  using your spell attack modifier and doing 
  1d4 + (your spellcasting ability modifier) 
  piercing damage on a successful hit. On 
  your following turns, you can use a bonus 
  action to cause the daggerhawk to attack 
  the same target. Once a target is selected for 
  the daggerhawk, it can’t switch to any other. 
  The daggerhawk has AC 14 and, although 
  it’s invulnerable to all damage, a successful 
  attack against it that does bludgeoning, 
  force, or slashing damage sends the 
  daggerhawk tumbling, so it can’t attack 
  again until after your next turn.
  FEATHER TRAVEL
  2nd-level transmutation
  Casting Time: 1 action
  Range: Touch
  Components: V, M (a feather)
  Duration: Concentration, up to 1 hour
  The target of feather travel transforms into a 
  feather (along with their clothing and other 
  gear) and drifts on the wind. The drifting 
  creature has a limited ability to control their 
  travel. They can move only in the direction 
  the wind is blowing and at the speed of the 
  wind. They can, however, shift up, down, 
  or sideways 5 feet per round as if caught by 
  a gust, allowing them to aim for an open 
  window or doorway, to avoid a flame, or to 
  steer around an animal or another creature. 
  When the spell ends, the feather settles 
  gently to the ground and transforms back 
  into the original creature.
  At Higher Levels. When you cast feather 
  travel using a spell slot of 3rd level or 
  higher, two additional creatures can be 
  transformed per slot level above 2nd.
  
  19
  FIRE DARTS
  2nd-level evocation
  Casting Time: 1 action
  Range: 20 feet
  Components: V, S, M (a fire the size of a 
  small campfire or larger)
  Duration: Instantaneous
  When this spell is cast on any fire that’s at 
  least as large as a small campfire or cooking 
  fire, three darts of flame shoot out from the 
  fire toward targets within 30 feet of the fire. 
  Darts can be directed against the same or 
  separate targets as the caster chooses. Each 
  dart does 4d6 fire damage or half damage 
  with a successful Dexterity saving throw.
  At Higher Levels. When you cast this spell 
  using a spell slot of 3rd level or higher, the 
  damage increases by 1d6 for each slot level 
  above 2nd.
  3RD LEVEL
  BREEZE COMPASS
  3rd-level divination
  Casting Time: 1 action
  Range: Self
  Components: V, S, M (a magnetized 
  needle)
  Duration: Concentration, up to 1 hour
  When you cast breeze compass, you must 
  clearly imagine or mentally describe a 
  location. It doesn’t need to be a location 
  you’ve been to as long as you know it 
  exists on the Material Plane. Within 
  moments, a gentle breeze arises and blows 
  along the most efficient path toward that 
  destination. Only you can sense this breeze, 
  and whenever it brings you to a decision 
  point (a fork in a tunnel, for example), you 
  must make a successful DC 8 Intelligence 
  (Arcana) check to deduce which way the 
  breeze indicates you should go. The spell 
  ends if the Intelligence check fails. The 
  breeze guides you around cliffs, lava pools, 
  and other natural obstacles, but it doesn’t 
  avoid enemies or hostile creatures.
  TONGUE OF SAND
  3rd-level illusion (ritual)
  Casting Time: 1 minute
  Range: 30 feet
  Components: V, S
  Duration: Until dispelled
  Tongue of sand is similar in many ways 
  to magic mouth. When you cast it, you 
  implant a message in a quantity of sand. 
  The sand must fill a space no smaller than 
  4 square feet and at least 2 inches deep. 
  The message can be up to 25 words. You 
  also decide the conditions that trigger the 
  speaking of the message. When the message 
  is triggered, a mouth forms in the sand and 
  delivers the message in a raspy, whispered 
  voice that can be heard by creatures within 
  10 feet of the sand.
  Additionally, tongue of sand has the ability 
  to interact in a simple, brief manner with 
  creatures who hear its message. For up to 
  10 minutes after the message is triggered, 
  questions addressed to the sand will be 
  answered as you would answer them. Each 
  answer can be no more than 10 words long, 
  and the spell ends after a second question is 
  answered.
  4TH LEVEL
  SEARING SUN
  4th-level transmutation
  Casting Time: 1 action
  Range: 200 feet
  Components: V, S, M (a magnifying lens)
  Duration: Concentration, up to 1 minute
  This spell intensifies the light and heat of the 
  sun, so it burns exposed flesh. You must be 
  able to see the sun when you cast the spell. 
  The searing sunlight affects a cylindrical 
  area 50 feet in radius and 200 feet high, 
  centered on the target point. Every creature 
  that starts its turn in that area takes 5d8 fire 
  damage or half damage with a successful 
  Constitution saving throw. A creature that’s 
  shaded by a solid object such as an awning, 
  
  20
  a building, or an overhanging boulder has 
  advantage on the saving throw. On your 
  turn, you can use an action to move the 
  target point up to 20 feet in any direction 
  along the ground.
  LAVA STONE
  4th-level transformation
  Casting Time: 1 action
  Range: Touch
  Components: V, M (a sling stone)
  Duration: Instantaneous
  When you cast lava stone on a piece of sling 
  ammo, the stone or bullet becomes intensely 
  hot. As a bonus action, you can launch the 
  heated stone with a sling: the stone increases 
  in size and melts into a glob of lava while 
  in flight. Make a ranged spell attack against 
  the target. If it hits, the target takes 1d8 
  bludgeoning damage, plus 6d6 fire damage. 
  The target takes additional fire damage at 
  the start of each of your next three turns, 
  beginning at 4d6, then 2d6, and then 1d6. 
  The additional damage can be avoided if 
  the target or an ally within 5 feet of the 
  target scrapes off the lava. This is done by 
  spending an action to make a successful 
  Wisdom (Medicine) check against your 
  spellcasting save DC. The spell ends if the 
  heated sling stone isn’t used immediately.
  5TH LEVEL
  SAND SHIP
  4th-level transmutation (ritual)
  Casting Time: 1 minute
  Range: 30 feet
  Components: V, S, M (a boat or ship of 
  10,000 gp value or less)
  Duration: 24 hours
  Casting sand ship on a water vessel up to 
  the size of a small sailing ship transforms 
  it into a vessel capable of sailing on sand 
  as easily as water. The vessel still needs a 
  trained crew and relies on wind or oars for 
  propulsion, but it moves at its normal speed 
  across sand instead of water for the duration 
  of the spell. It can sail only through sand, 
  not soil or solid rock. For the duration of 
  the spell, the vessel doesn’t float; it must be 
  beached or resting on the bottom of a body 
  of water (partially drawn up onto a beach, 
  for example) when the spell is cast or it 
  sinks into the water.
  6TH LEVEL
  FIREWALK
  6th-level transmutation
  Casting Time: 1 action
  Range: Touch
  Components: V, S
  Duration: Concentration, up to 10 minutes
  The creature you cast firewalk on becomes 
  immune to fire damage. In addition, that 
  creature can walk along any burning 
  surface, such as a burning wall or burning 
  oil spread on water, as if it were solid and 
  horizontal. Even if there is no surface to 
  walk on, the creature can walk along the 
  tops of the flames themselves.
  At Higher Levels: When you cast this spell 
  using a spell slot of 7th level or higher, two 
  additional creatures can be affected for each 
  slot level above 6th.
  7TH LEVEL
  CREATE THUNDERSTAFF
  7th-level transmutation
  Casting Time: 10 minutes (ritual)
  Range: Touch
  Components: V, S, M (a quarterstaff)
  Duration: Until depleted
  When you cast create thunderstaff on 
  a normal quarterstaff, it becomes like a 
  sponge for loud, harsh sounds. The staff 
  must then be mounted in a noisy location, 
  such as a busy marketplace, and left there 
  for 60 days. During those 60 days, the staff 
  absorbs ambient sound, which has the 
  pleasant effect of reducing what would 
  
  21
  normally be raucous, discordant noise 
  into a background rumble that, while 
  still noticeable, is not at all unpleasant or 
  distracting. The staff doesn’t detract from 
  anyone’s ability to converse or to be heard, 
  it just makes unwanted noise easy to ignore.
  After 60 days, the staff is fully charged 
  and can’t absorb any more sound. At that 
  point, it becomes a thunderstaff, a magic 
  quarterstaff that grants a +1 bonus to melee 
  attack and damage rolls made with it. In 
  addition, the staff has 10 charges. When 
  you hit with a melee attack with the staff 
  and expend 1 charge, the target takes an 
  additional 1d8 thunder damage. You can 
  cast thunderwave from the staff as a bonus 
  action by expending 2 charges. The staff 
  doesn’t recharge.
  8TH LEVEL
  WIND OF THE HEREAFTER
  8th-level conjuration
  Casting Time: 1 action
  Range: 120 feet
  Components: V, S, M (a vial of air from  
  a tomb)
  Duration: Concentration, up to 10 minutes
  You create a 30-foot-radius sphere of roiling 
  wind that carries the choking stench of 
  death. The sphere is centered on a point 
  you choose within range. The wind blows 
  around corners. When a creature starts 
  its turn in the sphere, it takes 8d8 necrotic 
  damage or half damage with a successful 
  Constitution saving throw. Creatures are 
  affected even if they hold their breath or 
  don’t need to breathe.
  The sphere moves 10 feet away from you at 
  the start of each of your turns, drifting along 
  the surface of the ground. It is not heavier 
  than air but drifts in a straight line for the 
  duration of the spell, even if that carries it 
  over a cliff or gully. If the sphere meets a 
  wall or other impassable obstacle, it turns to 
  the left or right (select randomly).
  9TH LEVEL
  UNLEASH EFFIGY
  9th-level transmutation
  Casting Time: 1 action
  Range: 60 feet
  Components: V, S
  Duration: Concentration, up to 10 minutes
  You cause a stone statue that you can see 
  within 60 feet of you to animate as your ally. 
  The statue has the statistics of a stone golem. 
  It takes a turn immediately after your 
  turn. As a bonus action on your turn, you 
  can order the golem to move and attack, 
  provided you’re within 60 feet of it. Without 
  orders from you, the statue does nothing.
  Whenever the statue has 75 hit points 
  or fewer at the start of your turn or it is 
  more than 60 feet from you at the start of 
  your turn, you must make a successful DC 
  16 spellcasting check or the statue goes 
  berserk. On each of its turns, the berserk 
  statue attacks you or one of your allies. If 
  no creature is near enough to be attacked, 
  the statue dashes toward the nearest one 
  instead. Once the statue goes berserk, it 
  remains berserk until it’s destroyed.
  When the spell ends, the animated statue 
  reverts to a normal, mundane statue.
  
  22
  THE CURIOUS PLACES  
  YOU’LL FIND
  by Richard Pett
  T
  he boiling, seething mass of the City 
  of Brass defies any attempt but the 
  broadest to catalogue her. Her teeming, 
  steaming maze of streets and sinners and 
  curious locales seems endless with new 
  places born from the streets by the hour—a 
  cycle of growing and withering akin to the 
  countless lives of her inhabitants. Some 
  places are quickly lost, some die, some are 
  mysteriously found after disappearing, and 
  others are to be avoided if possible, but 
  even these have a nasty habit of turning up 
  somehow when wanderers find themselves 
  on the very path they most wanted to avoid. 
  Here is a small selection of curious 
  locations that may (or may not) be 
  encountered on a trip down her streets. 
  Our intention is to give you inspiration to 
  stage adventures here and also, hopefully, 
  to inspire you to create your own crooked 
  corners of the magnificent City of Brass!
  THE GULPING ORIFICE  
  (AKA QUEEN MAW, THE MAD  
  JIG AT THE FALL OF ALL FLAMES)
  “The Gulper? Yes, I’ve seen her once, and 
  once was enough. To be truthful, you more 
  feel her and hear her than see her—looking 
  into her soul too deep scorches the eyes, you 
  see. I’ve heard tell of mariners that catch a 
  glimpse of her, and it’s the last thing they 
  ever see. Unless they see the buildings said 
  to be inside her—great impossible cliffs of 
  worked stone and strange metal sometimes 
  glimpsed deep within her jowls.” 
  Lurking in the deepest reaches of the Sea of 
  Fire, the Gulping Maw is a vast whirlpool 
  of molten lava said to have a soul and anger 
  all its own. So deep, she is said to reach into 
  the heart of the world and to have her soul 
  buried there—the Gulper is part creature, 
  part god of the city. A marriage of a dozen 
  conjoined, schizophrenic fire elementals of 
  the greatest size occasionally seen dancing 
  in the sea, the Gulper is tended by a cabal 
  of salamanders that lurk in the buildings 
  that are occasionally glimpsed when the 
  whirlpool is formed, an occasional event 
  linked to the passing and alignment of 
  heavenly bodies. So far, the beast has only 
  ever been partially awoken by such events, 
  raising it into a short-lived storm of fury and 
  lava. The salamanders seek to change that.
  Calling themselves the Heralds of the Fiery 
  Bride, the score or so of salamanders—all 
  paragons of their own race—work tirelessly 
  to permanently awaken their living god 
  in the hope of bringing her to terrible life. 
  Hoping, of course, that she will be grateful 
  for their “gift” and assist them in their 
  secret goal of dominating the City of Brass. 
  We mentioned that each of the heralds 
  is a paragon, which is true of itself, but 
  they are not physical paragons—indeed, 
  in this regard, they are the very opposite, 
  
  23
  struck down by some malignant, terrible 
  affliction that has changed their bodies, 
  turning each into an abomination. The 
  leader of the heralds, the appalling Scalded 
  Queen, is herself the most disfigured of all 
  the salamanders. Dragging her distended, 
  bloated, serpentine form about their 
  temple, she commands a small army of 
  terrified henchmen, worshippers, and slaves 
  throughout the city, always with the aim of 
  unravelling the mystery of the connection 
  between Queen Maw and the stars.  
  THE EPHEMERAL GYRE TEMPLE  
  OF BAAL AND THE PENANCE OF 
  THE FAITHLESS
  Swelling like some dreadful lesion from the 
  surface of the Sea of Fire, a bloated mass 
  of blackened stone floats upon the lava. 
  Impossibly, this stone has been worked 
  or forced into a structure—you can see 
  walkways and archways and rooms within 
  its terrible mass as it slowly, spastically 
  slithers across the surface of the Sea of Fire 
  with the speed of hands upon a clock. A 
  great, glowering doorway, which appears 
  to be a horned dragon’s head leering from 
  the flames, gazes outward from this strange 
  place whilst above rises a crooked spire.
  Slithering atop a slumbering corner of 
  the Sea of Fire, the Ephemeral Temple is a 
  curiously twisted structure—if structure is 
  the right word—born of the lava of the sea 
  itself and growing upward and outward. It 
  is a place birthed by fire and fury and has 
  become a shrine for those who worship 
  Baal, Lord of Fire and Master of Noble 
  Sacrifice, King of All Dragons.
  The founder and leader of the temple is the 
  Visionary, a gnoll whose eyes were removed 
  by heartless slavers when he was but a 
  child but who can see—or perhaps more 
  correctly feel and hear—the temple. It was 
  he who walked across the lava in the first 
  place when he was but a child, an act taken 
  by those who saw it as madness but which 
  brought the gnoll to this peculiar shrine. 
  Perhaps, some say, it was he who birthed 
  or caused the place to rise in the beginning. 
  The Visionary is a fearsome yet just figure, 
  his words echoing the moods of the fire 
  below and about him in tone only, for he 
  is always measured in what he says and 
  does. His wisdom is sought by many, but 
  the means to reach it keep the less devout at 
  bay, as we shall see shortly.
  All worshippers of Baal are welcome here, 
  but the presence of the Visionary draws 
  many gnolls to the transient shrine. Many 
  have stayed. A core of monks of Baal tend 
  and collect holy relics here, and the now-
  ancient Visionary has a lifetime of gifts 
  and objects of great and holy power, many 
  given in return for his vision and advice 
  and blessings. The place glows with them, 
  gold winks from every corner, jewels from 
  every shadow. The shrine is now the size 
  of a church, yet its growing continues, and 
  recently, stretching from atop the structure, 
  a great twisting spire rises—said by some to 
  be the spine of a great dragon being birthed 
  from the sea itself. In recent days, the 
  Visionary and his monks have been seeking 
  a dragonkin said to bear a special mark that 
  will signify them as the new Visionary. Is 
  the spire a herald of joy or portent of woe?
  The fickle temple slowly dances across the 
  surface of the great and terrible Sea of Fire, 
  sometimes shedding her parts (often with 
  deadly result). Worse awaits the faithful 
  than a mere fickle structure, however. 
  The truly faithful do not seek to fly or find 
  magical means of crossing to the place of 
  most holy worship—they walk there. To 
  assist in this seemingly impossible journey 
  of stepping across the surface of a sea of 
  molten magma, a small but redoubtable 
  group of djinni and efreeti guides are on 
  hand to offer the faithful advice on the best 
  paths to tread, where no paths exist. Some 
  
  24
  are said to be ascetics who seek to slay and 
  rob the faithful. Such villains meet awful 
  fiery ends if the monks find them.
  Yet many still take the walk across lava 
  and live and are blessed.
  The nearest shore houses a series of ghats 
  where the faithful to Baal are burned and 
  cast into the sea itself. Some fanatical 
  worshippers of Baal have cast themselves 
  into the sea in the vain hope that they will 
  be reborn as dragons.
  
  25
  A series of festivals culminates in the 
  Day of Stepping, the annual date when 
  the Visionary first stepped across the Sea 
  of Fire and entered the temple, a place he 
  has rumored never to have left since. This 
  festival is opulent; the streets dance with the 
  aroma of incense and the finery of gold holy 
  objects. Monks of the shrine go into the city 
  with gifts of great wealth for anyone deemed 
  to be holy by them, guided by their fiery 
  god’s hand. 
  THE VENT, THE MYRIAD,  
  AND THE WAYS OF STEAM
  Rumors persist of a series of secret, possibly 
  interdimensional passages said to crawl 
  their way across the city, linking its more 
  outré and repellent parts—as well as 
  providing easy access between. 
  The tales are, as so often occurs in the 
  fabulous City of Brass, true. The passages 
  are extremely fickle and dangerous, 
  however, as they host an equally erratic 
  series of fearful vents, lurking in the 
  shadows and cracks of the city, that 
  occasionally boil outward, cooking anything 
  within the corridors, stripping flesh and 
  boiling bones. A small, some might say 
  untrustworthy, group of minotaur guides 
  first found the Ways and claim knowledge 
  of her moods. 
  Did we say her moods? Well, yes, because 
  this maze is alive.
  These guides are paranoid about their own 
  security and can be impossible to locate—as 
  everyone with power wants to know where 
  the Ways go and how they can be navigated. 
  The thieves’ guilds in particular are always 
  seeking to gather more knowledge about the 
  Ways and her anger.
  The Ways are not simply passages, 
  however. They are indeed living things 
  tended like children by their doting and 
  fierce mother who lurks at the edges of sight 
  in an abandoned place deep in the very 
  bowels of the city. The mother does not 
  have a name, but her children sometimes 
  cry out for her help if strangers invade 
  their home and being. The various children 
  are linkages made of both flesh, bone, and 
  stone—intertwined—their moods reflected 
  in the way the corridors that make up their 
  bodies appear. Sometimes they sing, their 
  flanks hiding angelic faces and statues that, 
  of course, come to life to draw invaders 
  into the walls, bolstering their own number 
  with trapped souls of intruders. Sometimes 
  they play, become things that trap and 
  tear. Sometimes they cry aloud in terror, 
  and then their mother arrives in a scalding 
  scream of boiling steam and fury. 
  Occasionally, one of the children goes mad, 
  her crooked form twisting into the realms of 
  the outer city and corrupting them.
  The minotaurs who dare these Ways often 
  know the children by name, can speak with 
  them, appeal to them, and ask them to guide 
  their journey. Many go to great lengths 
  to protect and help the Ways, treating 
  them like their own kin. These guides see 
  themselves often as more than simple guides 
  though: they view themselves as guardians 
  of a special maze that deserves their love 
  and respect. However, others and some of 
  their own kin use the Ways to move across 
  the city, carrying out assassinations, spying, 
  theft. These villains cross the Ways furtively, 
  quickly, on routes that can never be mapped 
  but that are known to them. Mastery of the 
  Ways brings power to the few who know 
  them if they can avoid the attentions of the 
  minotaurs who seek to protect them. 
  And the Ways themselves.
  THE SECRET SOUK OF UTTERANCES
  Lurking within the city—and somehow 
  encountered when least expected or 
  unlooked for—are a cabal of insular djinni 
  known as the Uttering, and they run a secret 
  souk. They do not sell to those they do not 
  know, for they deal in a curious commodity: 
  they sell voices and the words those voices 
  
  26
  speak. Those of the Uttering are a group of 
  wizards who specialize in magic that draws 
  and keeps words and secrets from the lips 
  of those who utter them, even if they are 
  separated by time and space.
  Words are power, the members of the 
  Uttering know, and many take great 
  personal risks to become masters of their 
  art, taking words, sometimes even before 
  they are uttered, and selling them. This 
  group is feared, loathed, and admired in 
  equal measure, and they take great pains to 
  hide their secrets and rarely if ever sell—and 
  only to those they trust. Gaining their trust 
  can be the work of many years.
  No signs litter the souk, no clue that 
  anything is for sale in the unremarkable 
  corner of the City of Brass this market 
  calls home. A bare score of these wizards 
  know the secrets of Utterance Arcana, their 
  number kept low by fear of discovery, fear 
  of weakening their own power. They have 
  no leader, simply forming themselves into 
  friendships or associations of convenience 
  amongst their number, each sure in their 
  own mind that the fewer they are, the 
  better—both for safety and price. Only if 
  one of their number is threatened—and 
  bearing in mind their abilities, this is indeed 
  very rare—do they come together fleetingly 
  to protect their kind.
  It is remarkable—or perhaps unsettling—
  to note that even with such potential power, 
  the Uttering do not seek dominance. 
  This curious fact, if it could be proved, 
  might lead some, as it has in the wise, to 
  conjecture that with true knowledge comes 
  either absolute contentment or unending 
  and relentless despair. Surely those who 
  have mastered the arts know every secret 
  ever given voice, every oath or curse or 
  joy or whisper of love. What might be the 
  temptations of those with such power? 
  And what might be revealed. 
  ADVENTURES IN THESE LOCATIONS
  These locations are given to add even more 
  curiosity to the streets of the City of Brass 
  and to enable you to spin a few adventures 
  or encounters—or simply color—to the 
  setting. Each enables you to weave plots 
  and tales into adventures or base those 
  adventures on the locales above: 
  • The Heralds of the Fiery Bride offer a 
  more overt danger, possibly spanning 
  an adventure path, seeking out clues 
  to bring their god to life. The PCs may 
  be drawn in initially by encountering 
  those who serve the salamanders or even 
  salamanders who fear their own kin. 
  What lurks in the temples beneath the 
  Maw? If you like your adventures a little 
  Lovecraftian, the link between stars and 
  Maw could bring your PCs into contact 
  with occult references, scalded or burnt 
  libraries that give up terrible secrets 
  in the binding of the great marriage of 
  elementals. The Scalded Queen seeks 
  ever more obscure secrets, her agents 
  attacking the great libraries of the city. 
  Perhaps, at first, her agents’ actions are 
  deemed as mad vandalism, arsonists 
  bent on the destruction of arcane power 
  for all time. Yet soon, the selective 
  and peculiar nature of these attacks is 
  deduced as something darker. The stars 
  are aligning and some dark ritual said to 
  have birthed the Maw in the first place is 
  whispered of again.
  • The Temple of Baal offers a great focus 
  for a campaign, a much loathed yet 
  much visited location in the City of 
  Brass. Presently, the oddly benevolent 
  Visionary seeks a dragonkin as his 
  heir, yet that heir cannot be found by 
  his followers. Could it be that eyes less 
  given to worshipping Baal might be 
  more successful in finding the chosen 
  one? An adventure or even an adventure 
  path where an innocent is trapped by 
  
  27
  their own fate gives you an interesting 
  option. The dragonkin might not 
  want to be the chosen one, but those 
  who seek them know better. They are 
  pivotal in a terrible coming event that 
  threatens not only the City of Brass but 
  perhaps the fabric of creation. Possibly 
  this dragonkin child harnesses arcane 
  strength that will be needed to defeat 
  whatever calamity approaches? Maybe 
  there is a race against time against those 
  also bent upon the destruction of the 
  city. The monks lack the numbers and 
  wit to secure the child, so agents (the 
  PCs) are sent out to seek them out, but 
  of course, the child doesn’t want to 
  be found. Do the PCs look the part of 
  villains in what they seek to achieve? 
  Finally, what event comes? Is the 
  peculiar temple the focus of the ultimate 
  events? Is the reason for its formation 
  explained as it becomes the center of 
  the adventure path where a final battle 
  occurs? Does the eventual death of the 
  Visionary herald some celestial event 
  that unravels the fiery city? (Perhaps 
  our first two locations have more in 
  common than even we thought? Could 
  the one exist to destroy the other?)
  • The Ways could make a great single 
  use location in your adventures, passed 
  through by necessity perhaps or maybe 
  the only way to reach a certain desired 
  locale or dungeon complex. Who would 
  hide in such a place, or who would use 
  the fickle children to move about the 
  city, perhaps risking all by doing so? 
  Certainly the thieves’ guilds would pay 
  dearly to have a guide or someone who 
  understands the Ways. Are the PCs 
  asked to release a prisoner only to find 
  as they near the end of the adventure 
  the entire area about them unravelling 
  into the knotted madness of the Ways 
  as the prisoner makes good their escape 
  anyway? Is the mission simpler? Perhaps 
  minotaurs face some dread attack that 
  is poisoning the mother of the Ways 
  against her children with the PCs facing 
  adventure in the twisting madness that 
  would drive any minotaur insane.
  • Finally, our Uttering. What power 
  would such magic hold? Surely its 
  secrets must attract envy. Suppose one 
  of its order was under the power of 
  someone (or thing) wicked. To even 
  think of such an event, trickery or the 
  ability to mask such magic would be 
  needed. Our villain, therefore, may 
  be a powerful wizard once rejected by 
  the group or thrown out due to some 
  foul transgression. Can this caster 
  manipulate the magic to make the 
  words false or to infest the minds of 
  those linked to the curious arcana, thus 
  making them turn to strangers for help? 
  Surely associating with such terrible 
  power would bring dire warnings from 
  the PCs’ friends and allies, and what 
  power might the end villain have if 
  they can hear all words? Might they not 
  seemingly be able to thwart and menace 
  the PCs at every turn, knowing almost 
  everything they know?
  We hope you find these settings are useful 
  or at least give you a few little morsels for 
  thought in planning your own adventures 
  and locations. The City of Brass is almost 
  endless, as are its possibilities.
  
  28
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  System Reference Document 5.0 Copyright 2016, 
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