ROOM ESCAPES

Secuencia de pistas o acertijos/puzles que dan a otros puzles/acertijos,

hasta encontrar un objeto final, la salida o conseguir otro objetivo.
En el rol: Objetivo abrir cajas y puertas secretas para: escapar de un sitio,
encontrar un tesoro, liberar a alguien o algo, recoger informacin secreta,
imprescindible, nica o peligrosa.
1. TEMA: Escoger el tema, la trama y el objetivo del lugar, relacionados
con la campaa. Hazlo original, fantstico, para que se sientan como
jugando a un videojuego o en Hollywood. Imprescindible que todo
est relacionado con el tema.
2. DESCRIPCIN SALA: Describir la sala detalladamente para dar pistas
sobre por donde pueden empezar. Aade pistas falsas o simples
objetos, pero que estn relacionados con el tema o la trama. Dar ya
algunas pistas u objetos que no se puedan utilizar hasta el final del
acertijo.
3. BUSCAR PISTAR U OBJETOS: Ellos escogen por dnde empezar. Irn
encontrando pistas, objetos, muebles y cerraduras, etc. Tiradas de
Buscar, Avistar, Escuchar, conjuros, etc. Estas pistas u objetos no slo
pistas sobre el metapuzle, sino de la historia! Tambin, para
conseguir segn que objetos o pistas, debern realizar pruebas de
Destreza/Fuerza/Constitucin/otras habilidades como Escapismo/
Saltar/ Equilibrio/etc, como pasar por debajo de lseres, saltar de pilar
en pilar con un foso de serpientes, disparar con arma a distancia y
dar a un lugar especifico, desatar nudos de cuerda. Llenar recipiente
con algo como una llave dentro imposible de obtener, se ha de llenar
de liquido, combinar dos liquidos de dos colores diferentes para crear
un color distinto. Aplicar temperatura a un pergamino para ver algo
escrito. Un termmetro con nmeros que dan la temperatura, y quiz
alguna marca en algun nmero: calentar el termmetro o la
habitacin hasta llegar a la temperatura deseada.
4. ENCONTRAR PUZLES: acertijos, adivinanzas, pistas engaosas,
Deduccin con cdigos de color, nmeros, letras, etc.
5. Puzles: cdigos de letras/nmeros: problemas de matemticas,
esconder nmeros en la habitacin o cosas que signifiquen nmeros
como nmeros o letras o smbolos- y luego en algn lugar de la
habitacin encuentran la secuencia o gua del color smbolo letra
(LETRAS DE UNA LENGUA DESCONOCIDA POR LOS PJS, SMBOLOS
ARCANOS O DE DIOSES, PALABRAS CONCRETAS COMO MUERTE,
varias palabras), puzles, tocar la meloda correctamente, combinar o
crear objetos segn forma apariencia color, Distribuir pequeos
textos, mensajes con recortes de peridico, un viejo diario, la ltima
carta leda por la vctima. Libro falso, espejo falso, puertas o
estanteras corredizas, etc. Algunos han de resolverse con ms de
una persona, atar a uno o dos pjs juntos, oscuridad total y tener que
ver con una antorcha, revelar algun sitio secreto o abrir algo o puerta
si se hace una accin concreta como sentarse en un sof, tocar una

parte de un objeto como el ojo izquierdo del guila disecada, etc,

utilizar un objeto aparentemente de decoracin para cosas inusuales ,
reconocer un cuadro de un lugar o persona famosa y utilizar la
informacin que descubran (con tiradas de saber o Intel o
conocimiento de bardo) para resolver alguna pista, combinar objetos
que aparentemente van juntos: dinero en una bolsa o ranura de
telfono publico, espada en manos vacias de un guerrero , libro en
una estantera llena excepto por un hueco, en un rompecabezas dar
una pieza extra que ser otra pista u objeto a usar en otro sitio, llenas
recipiente o cubo con liquido como meado o vino o cerveza o agua.
Utiliza otros sentidos: tacto, oida, sabor, etc: que escuchen varios
sonidos de animales, tonos, ritmos y hayan de ordenarlos en una
secuencia para resolver el puzzle. Da un mensaje a los pjs a travs
del sonido, abriendo un libro que habla, una puerta, una estatua, un
PNJ con el que interactuar, utiliza uno o dos sonidos que indiquen
correcto o incorrecto. Necesidad d utilizar un espejo para leer un
mensaje o mapa al revs. Utilizar conjuros de ilusin!!! Leer un libro o
pergamino o carta o diario o pasaje donde se hable de un hecho
oscuro, un ao, etc. Problema de ajedrez: 1 movimiento para jaque
mate, o ms de un movimiento; luego que esos movimientos o
movimiento sea tambin un numero para completar un cdigo: h8.
6. Si llevan rato sin encontrar pista o resolver puzle, tiradas de
Inteligencia/Conocimiento de Bardo/Saber, incluso algun conjuro:
Augurio, Contacto Extraplanar, Conocimiento de Leyendas, Visin,
Adivinacin, Comunin, proporcionarn pistas, Dependiendo de la
naturaleza y el nivel del conjuro, puede obtener desde una vaga pista
hasta la solucin completa. Dar un mnimo de requisito a la
Inteligencia para resolver segn qu acertijo: ejemplo; si no llega a Int
10, no puede resolverlo.
7.
COMBINAR COMBATE CON ACERTIJO: por ejemplo, tienen un acertijo delante
y les aparece un constructo o guardian. Habrn de aguantar luchando
mientras leen el acertijo para poder destruirlo con una pista que les puede
dar sobre como hacerlo o directamente pronunciando la respuesta.
TIPO DE ACERTIJO MORAL: hay un circulo de proteccin de moral, solo
pueden pasar los que respondan como actuaran 1. ERLLOS 2.LOS
CONSTRUCTORES ante una situacin moral.

Objetivo de todo puzle: DAR MS INFORMACIN Y PROFUNDIDAD DEL

MUNDO.
Pensar en lo que implica el fallo! Nunca MUERTE, pero algo significativo.
What is the nature and purpose of the puzzle?
Who set the puzzle up?

What kind of group will be going through it?

What unique abilities or qualifications does the group have?
How challenging should it be?
Is it to be solved on the spot, or over a period of time?
Where will this puzzle be?
ACERTIJOS:
SIEMPRE QUE HAYA MS DE UNA POSIBLIDAD, ADEMS DE RESOLVER EL
ACERTIJO: PUERTA SECRETA, ABRIR CERRADURA O BARROTES O PUERTA POR
LA FUERZA, ETC. MEJOR SI ESTN ACOMPAADOS DE UN PNJ QUE LES D
PISTAS CUANDO ESTN PERDIDOS.
SI LLEVAN RATO: TIRADAS DE SABER, CHEQUEO DE INTELIGENCIA Y
CONOCIMIENTO DE BARDO SUPERADAS PROPORCIONAN PISTAS. INCLUSO
ALGUN CONJURO: Augurio, Contacto Extraplanar, Conocimiento de
Leyendas, Visin, Adivinacin, Comunin. Dependiendo de la naturaleza y el
nivel del conjuro, puede obtener desde una vaga pista hasta la solucin
completa. Dar un mnimo de requisito a la Inteligencia para resolver segn
qu acertijo: ejemplo; si no llega a Int 10, no puede resolverlo. Si an y as
no lo resuelven, hacer que la puerta y objeto se abra por accin de un PNJ,
ENEMIGO, MAGIA, etc. O que haya otra salida.
The Setup
Giving your puzzle a reason to exist is a crucial step to making sure the
players are interested in your game. Any puzzle needs to feel like an
important part of an adventure, not a barrier preventing the players from
enjoying the experience. There should also be a reason players actually
want to solve a puzzle, with at least an implied benefit and penalty if they
do or dont.
Characters who select a life of adventure are not necessarily puzzle solvers,
but they are good at getting out of dangerous situations. So when you
introduce a puzzle, play to the characters strengthsthat is, have it matter
to the plot of the adventure, or even threaten their lives. Having
a dragon promising to roast the PCs alive if they cant answer its riddles
makes finding the proper solution imperative. Alternatively, not every puzzle
needs to have a resolution immediately. A meaningful map or pictograph
found in a strange ruin might hint at a campaign-spanning plot even though
the PCs have no way of knowing that when they discover it. By feeding the
PCs more information, through either their own research or later adventures,
the GM gives the PCs the tools they need to make revelations without
having a plot spoon-fed to them.
Whether a puzzle demands immediate attention or stretches out over
several sessions, keep in mind that the game should not stop while its
being solved. Sometimes impending doom makes solving a puzzle
necessary to survive, other times allowing an enigma to baffle players for
several sessions makes it a more significant part of the plot. You should also

consider the consequences should the PCs fail, and make sure your game
can still progress if they do. While coming up with the wrong solution might
deny the party some detail, piece of treasure, or option, it should never
mean that the adventure comes to a halt.
The Mechanism
There are dozens of puzzle types, but not all of them are great for every
adventure. When designing a puzzle, consider the story and environment,
and decide whether the mechanism fits.
Logic Puzzles: These puzzles are popular, but be careful: when confronted
by a logic puzzle, fears of middle-school math class haunt many players
brains, intimidating them away from even looking at the problem. In
addition, all the rules of logic in the real world dont necessarily apply to a
fantasy world. Having such a puzzle be half solved can help players know
what state of mind to consider the problem in, and hint at the right path.
Mazes: Complex labyrinths are difficult to use, especially when employing a
map and miniatures makes revealing a mazeboring and obvious. At best,
mazes should be simple, preferably nothing more than a single intersection
or two, with the correct choices offering a safe path and the wrong ones
leading to peril. Giving the PCs forewarning of the safe path earlier in an
adventure or by means of another riddle rewards them for their cleverness,
but only penalizes them with traps and additional challenges.
Physical Puzzles: The best types of puzzles are those you can hand out,
giving your players something directly from the adventure to manipulate. If
they face a door that must be opened, give them a sketch of a combination
lock with letters on it and make them remember the name of the centuriesold lichs lost love. Or just give them a design with seven colored studs that
need to be pressed in a hurryare the buttons random, or does the rainbow
shape in the background have some meaning? Physical puzzles can take
any form you can imagine, and while they might be labor intensive to
create, they can also prove the most memorable.
Riddles: Elusive questions can be the basis for entire adventures. One of
the most important parts is to make sure that the answers are
comprehensible to the PCs, not just the players. While players know a lot
about monsters, treasure, and locations in their universe, not every PC does.
Questions with answers that both players and PCs might reasonably know
and understand often prove best, as it allows the players to wrack their
brains just as their characters world, and not trust in purely real-world
knowledge. Thus, if the PCs need to figure out which temple in a massive
city contains their foe, a riddle like I make wolves from men when I arrive,
and men from wolves when I depart could lead to the temple of the moon
god.
Wordplay: Assuming your players are comfortable speaking English, you
can use puns, anagrams, hidden words, and the like to befuddle them. Often

such puzzles come off as being cute or quirky, so make sure that dour
wordplay doesnt undermine your adventure and villains while a sprite
might naturally spout rhyming riddles, the same approach instantly robs a
vampire of his menace.
The Clues
Theres a significant distinction between clues and hints. A clue is something
thats necessary to solve the puzzle. A hint, on the other hand, is something
that helps open up an entirely solvable puzzle. While a clue might be meted
out by the GM, often in the form of additional details found along with the
puzzle, later in a adventure, or from a loose-tongued henchman, hints
should be the domain of the PCs and bridge the gap between characters and
players. While optimally players should strive to answer a puzzle using only
the knowledge their characters possess, this can be a challenge for even the
most experienced players. While formulating puzzles with answers that both
the players and PCs can solve fixes this problem to a degree, so does having
the players work with their PCs to gain hints. Its wholly possible, even likely,
that a character possesses knowledge and insights a player doesnt.
Depending on the complexity of a puzzle, calling for a skill check
(typicallyPerception or a Knowledge skill) or even an Intelligence ability
check might provide a hint. While such information might hint at the
solution, it shouldnt blatantly answer the puzzle. This allows a GM to
interject some backstory, forgotten detail, or element of his own reasoning
into the solving process without merely giving up the answer. Also bear in
mind that many spells can read thoughts, reveal hints, or otherwise affect or
circumvent puzzles. Never deny PCs use of their abilities when faced with
puzzles. Should those abilities make a puzzle less challenging than
anticipated, reward the party for their cleverness, and perhaps consider
such factors in future puzzles.
The Answer
Regardless of the type of puzzle, the answer should mean something.
Perhaps the answer is the command word to a powerfulwand, or the riddle
of the three gems results in the players ending up with a magical treasure.
An unmemorable answer is easy to spot, such as a number or piece of
unrelated trivia. If your answer is unmemorable, the puzzle leading up to it
might seem pointless. Make the players need the answer and theyll be
excited about getting it.
It helps if the answer is something the players might think of when theyre
trying to figure out what type of brainbender youve thrown at them. A
pirates riddle might have a nautical theme, for example, or a sphinxs
might concern the desert or ancient ruins. Just make sure the solutions
possibilities arent too broad or too narrow. For example, there are lots of
animals, but not many seasons, making the latter the source of more
achievable answers.

Sample Puzzles
Noted here are three classic types of fantasy riddles. If youre looking for
more riddles, a simple online search for fantasy puzzles and riddles can
reveal hundreds more.
Brainteaser Riddles
Here are a few basic question-and-answer riddles.
Riddle: What question can you ask all day and get a different correct
answer every time? Answer: What time is it? What falls every day but
never breaks? Answer: Night. What can you put in a wood box that will
make it lighter? Answer: Holes.
I Never Lie Puzzle
This is a simple and famous logic puzzle, wherein two guards protect two
pathways, one to danger and one to safety. They present the conundrum
that one always lies and one always tells the truth. Now have the PCs decide
which is which. While a spell like detect lies might easily reveal this, so can
posing questions with blatantly true answers (like simple equations), or a
question like If I asked you if the door youre guarding leads to safety,
would you say yes? wherein the guard is forced to answer truthfully.
Sequence Riddles
Riddles like this require the solver to find the next in a sequence, though
many might require a hint or visual que.
Riddle: What are the next 3 letters after O, T, T, F, F, S, S? Answer: E, N,
T. The first seven letters stand for: one, two, three, four, five,
six, seven.

Cmo usar un puzzle en un escenario?

Un puzzle sirve como reto al que se enfrentan los jugadores para poder
pasar por un sitio, dicho de manera simple. Como recurso para el Mster es
un impedimento que tienen que superar los PJs antes de continuar. A la hora
de colocar un puzzle en el escenario que ests dirigiendo tendrs que
decidir ciertos parmetros:

Si el puzzle tiene una nica solucin o va para completarlo o por el

contrario puede ser superado de varias formas. Por ejemplo, en el
anterior caso del portn de piedra maciza, quiz los jugadores puedan
conseguir tener acceso al mecanismo de activacin y no necesiten
reunir los discos de marras. O quiz se las ingenien para derribar la
pared con alguna buena idea.

Si el funcionamiento del puzzle ha de ser descifrado por su aspecto o

vas a dejar instrucciones o pistas para los jugadores.

Si vas a permitir que un puzzle pueda ser resuelto por un personaje y

no por un jugador. Esto es importante aunque no se entienda a
primera vista. Tal y como yo entiendo los puzzles, son desafos de una
dificultad asequible orientados a los jugadores, para que sean
resueltos por ellos y se den palmadas en las espaldas unos a otros al
terminar. Muchas veces hemos odo la cantinela de "aunque yo no
tenga ni idea de hacer esto, seguro que mi personaje con inteligencia
2000 s que lo sabe", y normalmente esto es as, pero tendrs que
pensarte si un desafo de estas caractersticas podr ser "puenteado"
con tiradas de inteligencia (u otras caractersticas/habilidades).

Las consecuencias a las que se enfrentan los personajes jugadores

cuando dan una solucin errnea al puzzle. Puede que no ocurra nada
y tengan la oportunidad de volver a intentarlo, puede que ocurra
algn suceso irreversible (como la activacin de una trampa, el cierre
definitivo de la puerta, el desmoronamiento de la sala del tesoro...) o
puede que puedan volver a intentarlo con un penalizador (aumento
de la dificultad, bajas en el grupo de personajes, maldiciones,
invocacin de monstruos legendarios...).

Como hacer un acertijo:

1. Utilidad d este: entregar un mensaje a los pjs, dar una pista sobre un
enigma, o como unica solucion para no caer en una trampa mortal, etc.
2. Escoge la Clase de acertijo: laberintos, rompecabezas, adivinanzas, etc
3. Crea el acertijo: toque personal. Con sentido en la historia y el mundo:
referencias a pnjs, ciudades de tu mundo, monstruos con los que los
persnajes puedan llegar a enfrentarse.
4. Lista de pistas: Antes de entregar el acertijo, elabora una lista de pistas,
entregadas por superar con exito tiradas de Int, habilidad (saberes y demas(
o conocimiento de bardo. Utiliza pista que se basen en conjuros o rasgos de
clase.
5. Revompensa a los pjs: aunque la recomepnsa adems sea sentirse
astutos, siempre recompensa con algo que SIN su intelecto no podran
haber conseguido: abrir puerta secreta, objeto magico, etc
Tipos de acertijos:
-AADIR O QUITAR LETRAS: rompecabezas donde los pjs debern darse
cuenta de que una palabra puede convertise en otra, aadiendo o quitando
una o varias letras. Ejemplos: ERROR-TERROR, ARCO-ARCN, INMORALINMORTAL, DESINTEGRAR-INTEGRAR, META-METAL, etc. Estas palabras han
de ir acompaadas de una frase que cree confusin sobre qu hacer.

EJEMPLO: Estanque de los Rndidos:

Descripcion bsica del lugar: Los pjs llegan a una interseccin de cuatro
paredes al final de un pasillo. Hay un estanque de agua en el centro. En
cada pared hay una puerta de hierro cerrada con un cerrojo corredizo, y en
cada una de estas puertas, en el centro hay marcos llenos de extraos
smbolos. Junto a cada puerta hay un pequeo pedestal.
Inicio: cuando los pjs entran en la interseccin, la puerta por la que han
entrado se cierra por su propio peso (salvacin de Reflejos cd 15 para
cualquier pj adyacente a la puerta para poder pararla).
El acertijo: los marcos y los pedestales forman entre s la clave para escapar
de la sala. Todos los marcos son indnticos, con cuatro filas de losas
octogonales de piedra de 4 de anchura. Cada fila contiene una de las
siguientes losas: un pez, una langosta, una ballena y una anguila (ver
diagrama). Bajo la ultima fila de losas hay un conjuntos de espacios
abiertos: cuatro grupos con ocho agujeros estrechos (aunque dan la
sensacin de ser profundos), que forman un esquema octogonal.
Sobre cada uno de los pedestales de piedra que estn junto a las puertas,
hay cuatro losas, cada una con uno de los smbolos. Las losas tienen ocho
delgadas barras de metal que sobresalen por la parte inferior y que pueden
insertarse en los agujeros.
Ten en cuenta que manipular las piezas durante el combate requiere una
accin de asalto completo, que provoca at. De oportunidad.
Pistas: si no piensan en nada, permite pruebas de Inteligencia para
representar su habilidad.
CD 10: el pj se da cuenta de que la imagen nicamente gira sobre un eje
central.
CD 15: el pj se da cuenta de que existe una secuencia, pero es incapaz de
aislarla.
CD 20: el pj comprende que cada imagen gira el mismo nmero de grados o
caras del octgono cada vez.
Solucin: Las losas que faltan funcionan como llaves para los cerrojos
corredizos de las puertas. Si se insertan todas en la direccin adecuada, el
cerrojo se abrir con un sonoro clanc. Despus de esto, las puertas podrn
abrirse, tras lo cual volver a cerrarse por su propio peso y quedara
nuevamente sellada.
1. Mediante prueba y error: 4096 posibilidades: 3-6 horas (1d4+2 para
calcular aleatoriamente).
2. Averiguar la secuencia de orientacin de las otras cuatro filas del
mismo tipo. En todos los casos, la imagen gira un nmero de lados
igual al nmero de letras que contiene la palabra: pez 3, langosta 8,

ballena 6, anguila 9. Por tanto, la imagen a colocar ha de estar

colocada en la posicin siguiente. Ejemplo: si el pez comienza
mirando a la derecha, se mueve tres en la siguiente ranura y miraa
abajo a la izquierda, se mueve tres mas en la siguiente y mira hacia
arriba, se mueve 3 ms y mira hacia abajo a la derecha, la ranura se
habr de colocar moviendo tres lados ms, por tanto, mirando a la
izquierda.
3. Inutilizar mecanismo: 2d4 asaltos de trabajo y una prueba de
Inutilizar Mecanismo con xito cd 25 por cada hueco. Util si pierden la
paciencia o daan las losas.
Problema: 10 asaltos (1 minuto ms tarde) de que todos hayan entrado
en esta zona, los rndidos comenzarn a emerger del estanque. Diez
rndidos (uno 1/10 VD; 10 son VD 1) saldrn cada 1d3 asaltos (luego de
los primeros 10, sern 2d6) silenciosamente del estanque debido a un
umbral en una sola direccin desde el plano Elemental del Agua que hay
al fondo del estanque.
Tcticas: el tamao Menudo de los randidos obliga a colocarse dentro de
una casilla de PJ, lo que crea ataque de oportunidad. Por eso, varios se
fijan la atencin en uno en concreto. Lo designan como su objetivo para
tener CA +1 gracias a Esquiva, utilizan Prestar Ayuda (tirada de ataque
contra ca 10, si la superan uno gana +2 al ataque. Purificar comida y
bebida lanzado al interior del estanque detendr la formacin de rnidos
durante 1 asalto, igual que si se derrama sobre las aguas un frasco de
agua bendita. Disipar magia suprime el efecto 1d4 asaltos.
Tesoro: los restos de un desafortunado aventurero enano descansan en
el fondo del estanque. Entre sus huesos Hacha de guerra enana de gran
calidad y bolsa podrida que contiene 100po, diamante de 400po.
PX: cuando resuelvan o inutilicen rompecabezas, PX equivalente a VD 3

EJEMPLO 2: LA MALDICIN DE HIERRO:

Descripcin del lugar: una habitacin con una puerta Grande de hierro,
con un mensaje grabado en grande y cada palabra sobre varias losas
como una sopa de letras: Un gran tesoro aguarda tras el glido metal
solo si cambia la meta lograras. Aparentemente la puerta carere de
asideros o cerradura. La cerradura es corriente (Abrir cerraduras CD 25)
y est camuflada, su mecanismo de apertura puede revelarse si se pulsa
el bloque de letra apropiado en el mensaje (ver Acertijo). No obstante, a
menos que se haya resuelto el acertijo, los pjs que intenten forzar la
cerradura, sufrirn penalizador de -5 ya que la cerradura est
parcialmente bloqueada y oculta por la trampa. Si se falla la prueba, se
activar Contacto Electrizante.

Acertijo: cada uno de los bloques puede ser presionado tocndolo. Si se

pulsa cualquier letra distinta a la correcta, se activa trampa de Contacto
Electrizante. Y luego la letra volver a su posicin original. Se puede
detectar como mgico (69 efectos aislados de Trasmutacin
(electricidad), uno por cada etra distinta de la correcta, y todos ellos se
solapan entre s, haciendo imposible determinar cual es la que no tiene
trampa. Se pueden desactivar las letras por separado, con una prueba
de Inutilizar mecanismo (cd 26).
Crear confusin sobre qu hacer, pues da a entender que para llegar a
la meta hay que cambiar el hecho de que el metal est fro, con un
conjuro de calentar metal?
Solucin: presionar la L, haciendo que la palabra METAL se convierta en
META. Cuando es pulsada, se hunde con un sonoro chasquido y
permanece en esa posicin. Acto seguido, el resto de los bloques se
extienden hacia fuera varias pulgadas, sobre delgadas barras de hierro.
En esta posicin se accede sin problemas a la cerradura que hay tras los
bloques, y es posible realizar pruebas de Abrir Cerraduras sin penalizador
de -5.
Pistas: prueba Inteligencia
CD 10: el acertijo es un juego de palabras de algn tipo.
CD 15: la solucin depende de las palabras.
CD 25: sugerir que las palabras metal y meta son muy parecidas.
Buscar CD 20: los bloques de piedra pueden presionarse.
Trampa: Botones de contacto electrizante (69 botones) VD 2 (4 para toda
la trampa): conjuro Contacto Electrizante (1d8+1 electricidad), Reflejos
11 evita; Buscar CD 26, Inutilizar Mecanismo CD 26.
Si se ataca a la puerta, se activan 1d10 contactos electrizantes.
Adaptar desafo:
Es de NE 4, si se quiere mejorar, hacerles correr tiempo.

Cmo crear una adivinanza:

1. Respuesta: Pensar en un objeto (zapatos), idea, emocin (amor,
tragedia), (la quema de una vela), fenmeno natural (fuego, volcn),
etc. Ser la respuesta al enigma.
Ejemplo: FUEGO

2. Lluvia de ideas: Piensa en cmo puedes describir este objeto, idea ,

emocin, proceso, etc.
Ejemplo: el fuego: es caliente, necesita aire, se esparce rpido, etc.
3. Creacin y Conversin: Intenta plantear el enigma de la manera
menos obvia, y a la vez, ms interesante; Escoge elementos de la
lista del punto 2 que no sean los que vienen a la mente al pensar en
la respuesta. Utiliza la personificacin, metfora, etc. Cambia
palabras evidentes por otras no tan evidentes. Usa palabras con
doble sentido, engaosas, con varios significados. Proporciona al
enigma un aire fantstico/ medieval y a la vez potico. Imagina la
respuesta del enigma decir cmo es, cmo se siente, qu talentos
posee, etc. Dale una rima.
Ejemplo: respira oxgeno, pero no tiene boca.
4. Desenlace: Une todas las pistas, utiliza el YO en primera persona, y al
final, pregunta: Quin soy?
Ejemplo: respiro oxgeno, pero no tengo una boca, puedo iluminar
tiempos oscuros y me utilizas de forma errnea puedo arruinar los
buenos tiempos, me muevo constantemente, pero no tengo un cuerpo,
qu soy).

Variacin: Enigma de Bsqueda del Tesoro:

1. Objeto y ubicacin: anota cada objeto y su ubicacin en el mapa.
Ejemplo: hoja de arce, y estanque. Espada, colina.
2. Lluvia de ideas: escribe caractersticas de cada objeto y cada
ubicacin (color, elementos cerca, ruido que produce o que puede
escucharse cerca, etc)
3. SIGUE LOS OTROS PASOS.
Variacin: Acertijos de lgica proposicional:
Ejemplos:
1. En una prisin de la que debemos salir, existen dos puertas. Una lleva
a la salida. La otra, a la muerte segura. Cada puerta est custodiada
por un guardin. Sabemos que uno de ellos dice siempre la verdad y
que el otro miente siempre, pero no sabemos cul es cada uno. La
cuestin es: si pudieras hacer solo una pregunta a uno de los dos,
qu pregunta le haras para saber qu puerta es la buena?
2. Un visitante encuentra a tres habitantes de la isla de los caballeros y
escuderos (una isla donde los caballeros siempre dicen la verdad y los
escuderos siempre mienten) . Se acerca al primero y le pregunta: "T

eres caballero o escudero?". ste responde, pero el visitante no le

entiende bien. Por su parte, el segundo dice: "Ha dicho que es
escudero". Y el tercero apostilla: "Eso es mentira". Qu son los
habitantes segundo y tercero?
3. Tenemos 4 cofres y dentro de uno hay un tesoro. Cada cofre contiene
una inscripcin y sabemos que 2 dicen la verdad y 2 mienten. Dnde
est el tesoro?
Cofre 1: El tesoro no est aqu.
Cofre 2: El cofre 1 dice la verdad.
Cofre 3: El tesoro no est en el cofre 2.
Cofre 4: El cofre 3 est vaco.
Soluciones:
1. La pregunta que le hara es: "Cul es la puerta que dira tu
compaero que es la correcta?". En todo caso, la respuesta ser la
falsa.
2. Nadie puede decir de s mismo que es escudero, puesto que, si es
caballero, debe decir la verdad y, si es escudero, dir igualmente que
es caballero porque miente siempre. Por lo tanto, el segundo
habitante miente: es escudero. Y, el tercero, dice la verdad, por lo
tanto, es caballero.
3. Para que se cumpla que dos digan la verdad y dos mientan, el tesoro
debe estar en el cofre 1

Ejemplos:
Las dos tribus
Acertijo: Una isla est habitada por dos tribus. Los miembros de una tribu
siempre dicen la verdad, su poblado es un lugar apacible y los miembros
son muy amables, los miembros de la otra tribu mienten siempre y tanto el
camino como el poblado son lugares muy peligrosos. Solo se tiene una
pregunta que se puede gastar con alguno de los dos, Cmo reconocer qu
camino seguir?
Solucin (una de ellas): preguntad a cualquiera de los dos, es este el
camino a tu tribu?, si responden que no es el camino a la tribu mentirosa
(dado que el mentiroso dir que no por mentir y el sincero dir la verdad), si
responden que s se es el camino a la tribu sincera (por el mismo motivo
que el anterior). Importante: sed consciente que es muy probable que
ambos miembros sean torturados en lugar de preguntarles (los jugadores
son muy bestias (link))

Acertijo de los sombreros

Acertijo: En una mesa hay tres sombreros negros y dos blancos. Tres
seores en fila india se ponen un sombrero al azar cada uno y sin mirar el
color. Se le pregunta al tercero de la fila, que puede ver el color del
sombrero del segundo y el primero, si puede decir el color de su sombrero, a
lo que responde negativamente. Se le pregunta al segundo que ve solo el
sombrero del primero y tampoco puede responder a la pregunta. Por ultimo
el primero de la fila que no ve ningn sombrero responde de que color es el
sombrero que tenia puesto.
Cul es este color y cual es la lgica que uso para saberlo?
Solucin: El ultimo de la fila puede ver el color del sombrero de sus
compaeros, si no puede saber cual es el color del suyo es porque los otros
dos no son blancos, por lo que o son los dos negros o es uno de cada color.
El segundo de la fila puede ver el color del sombrero del primero y ya ha
deducido lo que penso el tercero, si tampoco responde a la pregunta es
porque ve que el color del primero es negro, si fuera blanco sabra que el
suyo es negro.
El primero por ese mismo planteamiento deduce que su sombrero es negro.
Acertijo de la balanza
Acertijo: Tenemos doce monedas aparentemente iguales, pero una de ellas
tiene un peso ligeramente superior. Usando una balanza de platillos y con
solo tres pesadas encontrar la moneda diferente.
Solucin: Ponemos cuatro monedas en un platillo y otras cuatro en el otro, si
la balanza se equilibra sabemos que la mas pesada esta entre la que no
hemos puesto en la balanza y si no es as estar en el platillo que incline
esta, ya sabemos que la moneda mas pesada esta en un grupo de cuatro,
de las que ponemos dos en cada platillo, hacemos esta operacin una vez
mas con el grupo de las dos que inclinen la balanza y ya sabemos cual es la
mas pesada.
Las Cajas mal etiquetadas
Acertijo: tenemos tres cajas una llena de pltanos, otra llena de cocos y otra
con una mezcla de los dos, sin embargo se han etiquetado mal y solo puede
abrirse una de ellas una nica vez (o el universo implosionar), Cmo
podemos poner correctamente las etiquetas?.
Solucin: Abrimos la que est etiquetada como Cocos y Pltanos, si esta
tiene pltanos etiquetamos la que tenga pltanos le ponemos la etiqueta
cocos y a la que tenga etiqueta cocos la etiqueta pltanos. Si nos
encontramos cocos hacemos al revs.

Acertijo de Templo de Mystryl:

emplo de Mystryl (primer diosa de la magia en Forgotten Realms) dde "al
final" del templo habia un cuarto circular con 8 simbolos suspendidos en el
aire dispuestos en un circulo, algunos apuntando hacia el centro otros hacia
afuera (hacia afuera quiere decir que si lo miras desde el centro del circulo
no ves el simbolo sino una mancha flotando, y desde afuera ves es simbolo
como corresponde), cada uno de estos simbolos representaba una de las
escuelas de magia, dibujados por mi lo cual complicaba notoriamente el
descifrar el acertijo (cosa que los pjs no sabian en un principio, llegaron al
acertijo sin tener nocion alguna de que estaba ahi, o que era cada cosa).
Ahora bien, estos simbolos eran una especie de super circulo de
teleportacion que tenia muchos destinos distintos dependiendo de hacia
dde estuvieran apuntando, ej: todos hacia adentro salvo 1 era para ir a
la habitacion del maestro de dicha escuela, todos hacia afuera era para la
entrada al verdadero templo de Mystryl.
Los hechizos casteados dentro del cuarto este no tenian su efecto normal
sino que modificaban la disposicion de los simbolos dependiendo de su
escuela y nivel (nuevamente los pjs no lo sabian), ej: un spell de abjuracion
lvl 1 gira el simbolo que esta 1 lugar a la derecha del simbolode de
abjuracion, 1 spell de evocaion lvl 4 gira el simbolo que esta 4 lugares a la
derecha del de evocacion, y asi sucesivamente. Un spell universal randomea
todos los simbolos, un spell universal en alguna de las disposiciones que dije
antes (todos hacia adentro salvo 1, etc), abre un circulo de teleportacion en
el medio de los simbolo por tantos rounds como nivel del spell y despues
randomea los simbolos.
Este cuarto esta en una especie de zona de magia muerta, por lo que
adivinaciones acerca del acertijo fallan automaticamente, y lo que es mas,
el mythal que mantenia estos mecanismos tenia la peculiaridad de que
nadie podia decir lo que pensaba de como funcionaba el mecanismo, podian
decir "tirate un evocacion de lvl 8", pero no podian decir porque tenia que
hacer tal cosa, o que iba a pasar si lo hacia (esto necesita tener players que
no sean pelotudos, y acepten que sus pjs no pueden hablar sobre como
funciona el mecanismo).
Les tomo un BUEN rato descifrar esa mierda, casi 1 noche entera para llegar
a las camaras de las escuelas, lo gracioso fue que solo 2 de los players
entendieron como funcionaba el mecanismo (y otro mas o menos) y como
no lo podian decir los otros 2 no sabian como andaba (1 de los que no
entendia era la cleriga), esto derivaba en que cada vez que alguien queria
salir del templo tenia que ir con uno de los 2 que sabian el mecanismo... a
mi me funciono muy bien este acertijo pk tengo un grupo que se copa en
descifrar este tipo de cosas, vos sabras si en tu mesa te sirve algo por el
estilo, o no.

1
En la entrada de la cueva secreta de un gremio de magos enanos, en las
paredes de la montaa:
"Mueve montaas, pero no es la Fe"
Respuesta
Obviamente era el oro, o el dinero, pero los jugadores estuvieron un largo
rato pensando, con respuestas del estilo "un enano!" xD

2
En una tumba lfica, haba una puerta que llevaba hacia las cmaras
inferiores, sellada, con unos smbolos de medias lunas opuestas, dos
scimitarras en X y dibujos de hojas adornando el marco. En el piso superior,
detrs del trono, haba un crculo de poder, que al activarse con una tirada
de Arcana dejaba ver una inscripcin con un dibujo similar en el respaldo del
trono que deca "las puertas se abren por el mango".
Respuesta
Lo que los jugadores tenan que hacer, era colocar las manos sobre los
mangos de los dibujos de scimitarras, y hacer ademn de tomarlas,
haciendo presin con los dedos en el grabado, tanto en la parte posterior
del trono como en la puerta. Al destrabarse ambas cerraduras, la puerta se
abra
3
Un mago evocador, tiro una bola de fuego, lo gracioso del hecho fue de que
al tirarla, dicha bola regreso y mato al pobre mago. Como tiro el mago la
bola de fuego para que esta regrese y mate al pobrecito T.T.NOTA: teniendo
en cuenta que la bola de fuego toca algo estalla, vean lo en sentido figurado
sino no sale...
Respuesta
LA TIRO VERTICALMENTE , es medio malo el acertijo pero lo cambie de la
versin original para que parezca mas rolero
4
Un Drow manejaba una carreta negra, acarreada por caballos negros a toda
velocidad, por una carretera negra, con las luces de tal (de la carretera)
apagada y la luna no se vea. De repente, se le cruza un perro negro, y el
Drow con lo hbil que es logra esquivar al pobre animal. Como hizo el drow
para ver a dicho animal?. NOTA: Saquen todos los rasgos raciales del drow y
traten lo como un humano.

Respuesta
ERA DE DIA juaz, otro tambien alterado del original
5
Nos situamos en un templo de Morr en ruinas, Para el que lo precise tengo
un mapa hecho en excell con las casillas de cada habitacin para usar de
referencia en un mapa tctico.

Una Llave
Tras un par de combates fciles, los jugadores hallan en una sala una
estatua de un monje encapuchado que sostiene una espada con la mano
derecha por el pomo y la punta tocando el suelo...la mano izquierda esta
cerrada en puo con el codo flexionado y las venas hacia arriba. Le pueden
sacar la espada (arma mgica con descripcin aparte) y usarla para romper
la otra mano (si se avivan), de la cual se desprende una llave de hierro.

La entrada al saln ritual

Siguen recorriendo el templo y encuentran una puerta oculta (bah, si la
encuentran ^^, igual hay dos), que los lleva por un pasillo hasta una
abertura en la pared del doble de ancho que una puerta normal que tiene la
siguiente inscripcin arriba en la pared:
"Cuando no haya sentido, los ltimos sern los primeros y uno slo
hablar por muchos

Descripcin del saln

Al entrar descubren un espacio amplio y oscuro, la luz que encienden en las
antorchas los aviva de no adentrarse demasiado debido a un gran pozo
circular en el medio del saln. El techo es una bveda alta de roca con
inscripciones en una lengua arcana. Se hallan representados en un lado el
dios Morr y al otro lado su esposa, la diosa Mirmydia, pintados en la cpula
del saln. Cada uno estirando un brazo hacia el otro, donde se tocan sus
manos cuelga una esfera sostenida por una cadena que queda ubicada
verticalmente en el centro del pozo circular. No se puede estimar la
distancia del abismo a simple vista. En el permetro del pozo se encuentran
dos candelabros de pie con las velas apagadas y casi consumidas del todo,
ambos candelabros estn equidistantes entre s pero no se encuentran en la
mitad de la circunferencia. En el medio, de cara a la abertura de entrada se
halla un atril de madera con una hoja clavada gastada por el tiempo.

Texto del atril

Amanece rojo ante lunas celestes, siente el amor riendo temeroso en literas,
un smbolo solo es un pretexto. Otro mundo suspira inquieto buscando
almas, liberar el dolor, dejar recordar otros lamentos, roncas risas ordenan
muerte, aunque este uniforme guerrero indmito ser. Acarrea doce almas
nadando, roen alborotadas todo rompiendo rganos, pidiendo muerte
inmortal, ninguna interviene silenciosa, entran irrumpiendo puertas, entran
deprisa, solas agrupan insignias ridculas. Ignorantes, urgentes, groseras
esperan salir. Oscuridad, muerte, soledad, infortunio, miedo. Obcecada luz,
nunca aparecer real en un fretro. Risas olvidadas lloran ahora volver, luz
entrara y estarn felices ante la inmensidad solar.

Solucin del Puzzle

Los jugadores deben descifrar el cdigo, que consta de formar una frase
utilizando solamente la primera letra de cada palabra y leyendo el texto
entero al revs. La frase formada es tambin un acertijo que dice:
Si la fe y el valor fueran lo mismo, seguirias de pie sin importar nada, sigue
a Morr, lord del abismo, pues su letra es clara.
De sta frase deben interpretar que si son valientes y tienen fe en sus
actos, la nada del abismo no los har caer, por lo cual podrn literalmente
caminar en el aire gracias a un conjuro, el tema es que slo hay un camino
posible sobre el cual funciona el conjuro y es el que describe una letra M de
Morr, comienza en cualquiera de los candelabros de pie y termina en el otro,
en el centro de la letra pende justamente la esfera.
La esfera se abre con la llave que obtuvieron de la estatua, sino la
consiguieron se puede forzar la cerradura si alguien tiene la habilidad
competente. En el interior hay otro objeto mgico de mi invencin que no
viene al caso detallar.

Ideas para acertijos:

1) una ilusion que tapa la entrada
2) una trampa (o varias) que dispara un conjuro que mataria al 99%
de los intrusos indeseados. pero que puede ser facilmente
desactivada pro alguien que conozca el lugar
3) una palabra clave que abra el lugar.
pero como una palabra clave puede ser olvidada, el mago pone un
recordatorio, algo que tenga sentido para el, pero no para las mentes
inferiores (La dificultad no es real, porque sino seria inresolvible para
los jugadores. si queres ser realista y pones un acertijo imposible, ahi
si deberias tirar el dado.)

l te guarda y te vigila, desde que naces hasta que mueres. Sin descanso, siempre atento,
sin l habras muerto cientos de veces. Solo tiene un defecto, todo el da tocando el maldito
tambor.
S, se que es fcil, pero no tardaron poco en adivinarlo. Los nervios son malos consejeros,
aunque al final la lgica se impuso. Corazn fue la primera y nica respuesta que dieron,
acertadamente. Tocaba el turno de los jugadores.
Vive en el mar. Todos se lo comen, y a nadie come.
Vaya, jugaban duro. Ellos se haban intercambiado acertijo y respuesta escrito en un folio, y
yo tema que la respuesta fuese tan sencilla que no la encontrase. Dije algunas cosas al
azar. La salitre, la marea, el oxgeno. Ped que lo repitieran y a pocos segundos de ser
derrotado, plancton fue mi respuesta. Dudo que alguien conociera la existencia del
plancton en Ferelden, pero que diablos, era divertido. Me tocaba.
Ha derrotado a hombres, ejrcitos y pueblos, pero nunca ha blandido arma alguna.
Eran altas horas de la madrugada, las mentes espesas y temerosas actuaban despacio,
pero un susurro dijo: miedo... Haban acertado, era su turno.
(Este no lo recuerdo bien, pero bsicamente era algo as) Faros que no brillan bajo dos
arcos oscuros.
Era tan fcil, o tena trampa? Ojos, suger sin equivocarme. Tocaba rematarlos.
Llevas enfrentndote a l toda tu vida, nunca le has derrotado. Da igual lo que pase,
siempre tienes algo que reprocharle.
Fue un duro golpe. Alma, conciencia, yo mismo... muchas fueron las respuestas. Se
acercaron mucho, pero ninguno dijo la adecuada. Tu reflejo. Pregunte a la mesa, si tena
sentido el acertijo y era razonablemente posible de acertar, o si por el contrario lo
descartbamos y lo repeta. Por unanimidad se dieron por derrotados, demostrando la
madurez de la que disfrutamos en nuestra mesa. Que grande el grupo con el que juego!
Haban perdido a un miembro del grupo. Uno especialmente importante. Que hacer? Sin
pensarlo mucho, sugirieron un doble o nada. El demonio dijo que si ganaba, todos seran
suyos. Y ellos aceptaron, volveran todos, o no volvera ninguno. Uno de ellos, que tena
preparado su siguiente acertijo respondi: Vale, pero nosotros empezamos. Unos puntitos
de gratificacin al jugador, pues eso pudo salvarlos. Escuche atento su acertijo.
Es tenebroso para muchos, otros ni si quiera lo conocen. Un paso en falso y estars
perdido.
Vaya. Aplauso aplauso. Pens, sin hallar la respuesta. El miedo? Un demonio? La
locura? Las pesadillas? Sueos? Demonios? Se acab el tiempo, haban ganado.
Qu era? El velo.
Un golpe maestro. No ca, yo fui el lento esa vez. Es curioso, pero haba pensado minutos
antes que un acertijo sobre el velo sera interesante. Pero me qued en blanco y haba

fallado. Para disgusto del demonio, todos volvieron a salvo del velo, portando lo que haban
venido a buscar.

"Aquello en qe los muertos piensan, si lo comes te mueres y es mas

inmenso q Dios"
RESPUESTA: Nada

Qu patrn sigue la siguiente secuencia de nmeros 5 4 2 9 8 6 7 3 1?

(click to show/hide)
Estan ordenados por orden alfabetico Cinco, cuatro, dos....
Tres cajas opacas de caramelos aparecen etiquetadas en tres tipos: ans, menta y mezcla de
ambas clases. Ninguno de estos rtulos est colocado en la caja correspondiente. Cuntos
caramelos debemos extraer de las cajas para colocar correctamente las etiquetas?
Aqui se pueden sustituir los caramelos por algo mas fantastico, como gemas rojas, negras y
blancas o cualquier cosa por el estilo.
(click to show/hide)
un solo caramelo de la caja donde pone mezcla.
Esta es muy clasica y suele tener muchos enunciados, aparte que tambien la he visto en la
pelicula Dentro del laberinto, que es muy muy muy recomendable. (en Dentro del laberinto,
son dos caras en una puerta, que sujetan unos aldabones con la boca y ademas no se le
entiende nada xD, las que responden, una mintiendo siempre y otra diciendo siempre la
verdad
Un prisionero est en una celda guardada por dos carceleros que custodian sendas puertas.
Una de estas puertas conduce a la libertad. Uno de los carceleros siempre dice la verdad y el
otro siempre miente. Al prisionero se le permite hacer una nica pregunta a uno de los dos
guardianes. Qu debe preguntar para salir de su encierro?
(click to show/hide)
Qu puerta me dira tu compaero que es la buena?

En un templo del dios Bahamut (D&D4 - Forgotten Realms) encuentran 4

estatuas derruidas iguales en diferentes posiciones y dos antorchas en la
pared. Al final ven una gran estatua de Bahamut, y un letrero que
reza: "Dnde la iluminacin no pude revelar el camino de la
realidad, vestid a los ancestros de puertas a la verdad, no son uno,
sino cuatro, y si dos contamos como astucia, abrirs las puertas de
par en par.". En otro lugar (puede ser alli mismo) que era una biblioteca de
la ciudad encontraron un libro de bahamut que deca: "La sutileza es el
fracaso, y si le llamas de seguro caers.".

La solucin es simple: deben apagar las velas del templo y as vern las
marcas de cada estatua (Dnde la iluminacin no pude revelar el camino de
la realidad). En la primera estatua habr una marca de 4 dragones
mirandose entre s, en la 2 y 3 el smbolo de avandra (ver abajo) y el 4
una marca de 4 dragones mirndose, como la primera. Deben mover las
estatuas "verdaderas" hacia bahamut (vestid a los ancestros de puertas a la
verdad -> moverlas hacia la estatua de bahamut grande). Aqu es donde
est el meollo, lo explico mejor:
"no son uno, sino cuatro" -> Son cuatro, vale, pero qu cuatro?. Aqu
pueden deducir que es tan simple como mover las cuatro estatuas hacia
bahamut, aqu es donde si mueven las de avandra, caen a una trampa de
foso. Porqu? Por lo siguiente:
"y si dos contamos como astucia, abrirs las puertas de par en
par." -> Recuerdan el otro documento, que deca que la sutileza es el
fracaso? Bien, sutileza es sinnimo de astucia, as que tendramos que
anular dos estatuas, es decir, tenemos que mover dos estatuas, pero,
cuales? Recuerdan lo de "no son uno, sino cuatro"? Bien, esto ya es
sencillo: Si miran el dibujo que les pongo del dios de avandra, es una
mochila con unos smbolos verdes en el encaje, que son TRES. Cuntos
dragones eran en las estatuas 1 y 4? Eran CUATRO dragones mirndose.
La solucin es sta: Slo las estatuas de los dragones debern moverse,
mirando hacia la estatua grande de bahamut, y abriendo un pasadizo
secreto. Con sto he conseguido varias cosas: que vayan a por mas
informacin (la biblioteca), que tengan que apagar las luces (podran haber
girado todas y caeran en la trampa), poner dificultad (trampas) y ganar un
tiempo en que se coman la cabeza, que ya tiene mucho de pegar ostias.
Tambin usaron habilidades como Historia y religin, sta ultima para
hablarles de Bahamut y de Avandra. Y todo sto en una sola sala.

Al final de la sala ven un letrero que dice: "La luz no brillar si por ello se
interpone en mitad". Aqu normalmente empiezan a apagar las luces, y de
repente aparece, dnde el letrero un fantasma. Les dice lo
siguiente: "Acabis de destruir a lo que mas odio, decidme, cul es
mi enemigo?". Dirn que "la luz". Dirn que el fuego. En verdad la solucin
est en tirar para religin, pues Pelor, el dios del sol es su enemigo.
Solucin: "Pelor".

() Las clasicas palancas. Esto pega mas en las fortalezas caidas de los
enanos, donde habia toda clase de camaras llenas de tesoros, escondidas a
los ojos de los demas, y con un mecanismo que solo un ingeniero podria
conocer. La cosa seria, por ejemplo, poner en cierta posicion una serie de
palancas, lo que activaria un mecanismo que bajaria un puente.
() las clasicas gemas (sacado del golden sun). Tendrias unas gemas que has
de colocarlas en algun relieve de la pared, completandola.
() la sombra esclarecedora. Hay un objeto, un palo, que encaja exactamente
en un lugar del suelo, y luego en otro sitio exacto hay que encajar un
candelabro. La sombra que proyecta el palo indica un lugar exacto de un
mapa, o el pasadizo a tomar. Esto salia en el broken sword 2

Les plant a un Alquimista que quera que el grupo se reuniera con l en un

callejn. No poda arriesgarse a que le vieran hablando con ellos mucho rato
as que les dio un objeto a los aventureros.
Era un cono macizo de metal rojo.
El Alquimista antes de marcharse les dijo: Rojo, blanco y Azul...recordar.
Una vez en el callejn no vieron a nadie, pero al cabo unos minutos un
pequeo ratn con un cono blanco ( de sombrero) se les acerco subiendo
por unas cajas.
Luego salt ( y ellos lo siguieron ) les hizo dar vueltas por unos callejones
hasta bajar por una pequea escalera que terminaba en un muro sin salida.
La rata se col por una grieta ( amaestrada para accionar un palanca) y una
falsa pared de piedra se apart para dejar al descubierto un panel con 7
orificios de diferentes colores (entre ellos el azul claro). El ratn volva a salir
por la grieta y se plantaba delante del grupo.
La solucin no era sencilla: Simplemente una contrasea de colores.
Tenan que que sacar el gorro al ratn. Este era un cono hueco, as que se
tena que meter el cono rojo dentro del blanco y esto a su vez dentro del
orificio azul.
Al contacto los tes metales producan un compuesto gaseoso que
desplazaba el panel hacia arriba dejando al descubierto una escalera de
caracol hacia el laboratorio del Alquimista.

El acertijo de las balanzas

Si las dos primeras balanzas estn en equilibrio, Cuntas canicas harn

falta para equilibrar esta peonza?
Solucin
En este simple ejemplo de "lgebra visual", descubrimos una ejemplificacin
capital de los principios de sustitucin y suma de cantidades iguales en
ambos miembros de una ecuacin, sin que afecte al equilibrio, por as
decirlo. Demuestra la verdad del axioma que afirma que las cosas que son
iguales a las mismas cosas son iguales entre s.
En la primera ecuacin vemos que una peonza y 3 cubos son iguales a 12
canicas. En la segunda ecuacin, una peonza solo iguala a 1 cubo y 8
canicas. Ahora agreguemos 3 cubos a cada platillo de la segunda balanza.
Como agregar cantidades iguales en ambos lados no afectar al equilibrio,

seguimos teniendo una ecuacin. Pero el platillo de la izquierda es idntico

al platillo de la izquierda de la balanza anterior. Por lo tanto, debemos
concluir que los dos platillos de la derecha tambin son iguales, es decir,
que 4 cubos y 8 canicas deben ser iguales a 12 canicas. Por lo tanto, 4
cubos deben pesar lo mismo que 4 canicas. En resumen, 1 cubo y 1 canica
tienen el mismo peso.
El segundo cuadro nos dice que una peonza se equilibra con 1 cubo y 8
canicas, de modo que sustituimos el cubo por 1 canica y tenemos que la
peonza tiene igual peso que 9 canicas.

Adivina la edad de la madre

Los acertijos de edades son siempre interesantes y ejercen cierta

fascinacin sobre los jvenes con inclinaciones matemticas. Por lo general,
son extremadamente simples, pero en este problema los datos son tan

escasos y la proposicin tan diferente de lo esperado que la pregunta

parece verdaderamente alarmante.
Uno de los integrantes del tro de la ilustracin cumpla aos. Ello despert
la curiosidad de Tommy con referencia a sus respectivas edades, y en
respuesta a sus preguntas, el padre le dijo:
"Bien, Tommy, nuestras edades combinadas suman setenta aos. Como yo
soy seis veces ms viejo de lo que t eres ahora, puede decirse que cuando
sea el doble de viejo que t, nuestras edades combinadas sern el doble de
lo que son ahora. Bien, djame ver si puedes decirme la edad de tu madre".
Tommy, que era brillante con los nmeros, resolvi rpidamente el
problema, pero tena la ventaja de saber su propia edad y poda adivinar
con bastante certeza la edad de los otros. Nuestros aficionados, sin
embargo, slo dispondrn de los datos acerca de las edades comparativas
de padre e hijo, y de la sorprendente pregunta: "Qu edad tiene la
madre?".
Solucin
La edad de la madre es 29 aos y 2 meses. La edad de Tommy es 5 aos y
10 meses, y el padre tiene 35 aos.
El acertijo del orculo

La fe implcita que los antiguos griegos, romanos y egipcios depositaban en

los orculos de sus dioses puede apreciarse cuando advertimos que, desde
la declaracin de una guerra hasta la venta de una vaca, no se llevaba a
cabo ninguna transaccin sin el consejo y la aprobacin de los orculos. La
famosa pintura de Jpiter en Dodona muestra a dos campesinos
consultando al orculo acerca de algn asunto de poca importancia y, de

manera imperiosa, se les ordena que se miren en un espejo.

Para ilustrar la sobrecogedora importancia y dignidad, o ms bien el
misterio que rodeaba las cosas ms insignificantes, el dibujo muestra a dos
pobres campesinos que desean saber si el gran Jpiter sonreir de manera
auspiciosa ante la compra de un cordero y un cabra.
"Se reproducirn", dijo el orculo, "hasta que las ovejas multiplicadas por
las cabras den un producto que, reflejado en el sagrado espejo, muestre el
nmero del rebao completo!".
Hay cierta ambigedad y cierto misterio en las palabras del orculo, a
pesar de lo cual presentamos el problema a la consideracin de nuestros
lectores.
Solucin
Puede decirse que muchos campesinos, al igual que nuestros aficionados,
experimentaron durante un tiempo frente a un espejo antes de descubrir
que la respuesta es 9 ovejas y 9 cabras. El producto, 81, se transforma en el
espejo en 18, que es el nmero total del rebao.
El hombre con la azada

El siguiente acertijo, muy simple, est tan despojado de dificultades

matemticas que vacilo en presentarlo. Sin embargo, al igual que el
celebrado poema de Edwin Markham, creo que abre el camino a
interesantes discusiones.

Parece ser que, a cambio de cinco dlares, Hobbs y Nobbs accedieron a

plantar un campo de patatas para el granjero Snobbs. Nobbs puede sembrar
una fila de patatas en cuarenta minutos y cubrir el surco con la misma
velocidad.
Hobbs, por su parte, puede sembrar una fila en slo veinte minutos, pero en
el tiempo que l cubre dos surcos. Nobbs cubre tres.
Suponiendo que ambos hombres trabajen constantemente hasta sembrar
todo el campo, cada uno de ellos sembrando y cubriendo lo suyo, y
suponiendo adems que el campo consiste en doce filas como lo muestra la
ilustracin, cmo habra que dividir los cinco dlares para que cada uno de
los hombres recibiera la cantidad proporcional a la tarea cumplida?
Solucin
Si Nobbs puede plantar una fila de patatas en cuarenta minutos, le llevara
240 minutos completar las seis filas. Como las cubre a la misma velocidad,
terminara con su parte en 480 minutos, es decir, en 8 horas.
Hobbs, trabajando en las otras seis filas, las plantara en 120 minutos (una
fila cada veinte minutos), y las cubrira en 360 minutos, haciendo un total
de 480 minutos, es decir, 8 horas.
Si Nobbs puede plantar una fila de patatas en cuarenta minutos, le llevara
240 minutos completar las seis filas. Como las cubre a la misma velocidad,
terminara con su parte en 480 minutos, es decir, en 8 horas. Hobbs,
trabajando en las otras seis filas, las plantara en 120 minutos (una fila cada
veinte minutos), y las cubrira en 360 minutos, haciendo un total de 480
minutos, es decir, 8 horas. Cada uno de los hombres realizar el mismo
trabajo en las ocho horas que les llevar completar la siembra de todo el
campo, de modo que a cada uno de ellos le corresponder $2,50.
El acertijo del collar

Aprovechar la ocasin para sealar que el hecho de que mis acertijos sean
muy conocidos no implica que todo el mundo conozca las respuestas.
Las respuestas correctas de algunos de los ms populares jams han sido
publicadas y, por lo que s, tampoco han sido descubiertas. Ejemplificar
este punto presentando el "Acertijo del collar", que mostr varios aos atrs
y que hace que cada persona que lo ve crea que podr resolverlo de
inmediato. Sin embargo, no recuerdo que nadie haya encontrado la
respuesta correcta.
Est basado en una transaccin comercial cotidiana, y destinado a
demostrar hasta qu punto se equivoca la persona comn cuando se trata
de hacer algo que demanda un mnimo de habilidad o conocimiento
matemtico. Est desprovisto de cualquier tipo de trampa o subterfugio, y
no hay en l ningn "eslabn perdido" misterioso.

Fue propuesto a los principales joyeros y orfebres de Nueva York, quienes

dijeron que no emplearan a ningn vendedor que no pudiera dilucidar una
transaccin tan simple y, sin embargo, ninguno de ellos dio la respuesta
correcta.
Una dama compr doce trozos de cadena, tal como se muestra rodeando a
la ilustracin, y quiso hacerse montar un collar cerrado de 100 eslabones. El
joyero dijo que costara I S centavos cortar y unir un eslabn pequeo y 20
centavos cortar y unir un eslabn grande. La cuestin consiste en decir
cunto debe pagar la dama para que se le haga el collar. Eso es todo, y es
un bonito problema para los jvenes.
Solucin
Al dar respuesta a este acertijo del collar puede afirmarse que cualquier
joyero, as como el noventa y nueve por ciento de los matemticos, dirn
que la mejor manera sera abrir los doce pequeos eslabones al final de
nueve de las doce piezas, hecho que reducira el costo a $1,80.
La respuesta correcta, sin embargo, es abrir los diez eslabones de los dos
trozos de cinco eslabones, situados en los laterales izquierdo y derecho, que
tienen tres eslabones pequeos y dos grandes cada uno. Abrir y engarzar
esos eslabones para hacer un collar cerrado costara $1,70, que es la
solucin ms barata posible.
Un acertijo chino de cambio de palabra

He aqu un interesante acertijo concebido en la misma lnea que mi viejo

juego 14-15.
Se supone que hay una letra en cada uno de los doce bloques mviles, y
que si se los lee de arriba hacia abajo se encontrar una palabra correcta.
El problema consiste en deslizar los bloques en el otro surco para que la
misma palabra pueda leerse correctamente de izquierda a derecha.
Se comprende que puede utilizarse cualquier palabra de doce letras para
resolver el acertijo, pero cada palabra producir resultados diferentes.
Algunas palabras son mejores que otras, y es una cuestin de suerte y de
experimentacin dar con la que resolver el acertijo en el menor nmero de
manipulaciones.
Solucin
En el acertijo original chino, se usa una oracin de doce palabras, ya que en
la lengua china cada palabra es representada por medio de un signo
especfico. En la presente versin norteamercanizada del acertijo, la oracin
deber ser traducida o representada por medio de una palabra de doce
letras, una letra por cada bloque.
Pocos aficionados aceptaron mi advertencia de que exista una palabra

particularmente apropiada, ni se sirvieron de lo que sugeran los intrpretes

chinos. La afortunada palabra "interpreting" se desplaza en doce
movimientos, sin ningn "desvo", como diran los ferroviarios. (La palabra
castellana "reconocerle", le reconocer, tambin lo resuelve en doce
movimientos y fue propuesta por Guillermo Dianda. Y otra descubierta ms
recientemente por Jos Manuel Gmez Pars es "acurrucsese", se
acurrucase, que tambin se acurruca en doce movimientos, sin desvos. N.
del E.)
Trucos de sobremesa

Para los lectores interesados en trucos sociales, he aqu un entretenido

acertijo que puede ser usado ventajosamente para divertir a los huspedes
tras un banquete o una fiesta.
En el primer caso, ocho copas de vino cuatro vacas y cuatro parcialmente
llenas, ilustran a la perfeccin el truco.
En este caso, al igual que en todas las exhibiciones de carcter similar, todo
depende de la pericia y de la actuacin inteligente de quien intente el truco.
Debe saberse su parte a la perfeccin, de modo que pueda hacer el truco

sin la menor vacilacin, mientras convence a sus espectadores, con la

ayuda de una charla incesante, de que el truco es simplsimo, y que
cualquiera puede hacerlo si es que no es un cabeza de alcornoque o un
tonto sin remedio. En realidad, parece tan simple que casi todo el mundo
aceptar la invitacin de ponerse en pie y someter a prueba su sobriedad
demostrando con cuanta rapidez puede llevar a cabo la treta, y all es
cuando comienza la diversin, porque noventa y nueve sobre cien sern
descalificados.
Levante dos copas adyacentes por vez y en cuatro movimientos cambie las
posiciones de manera que se alternen copas llenas con copas vacas.
Un movimiento consiste en alzar dos copas vecinas y, sin intercambiarlas,
llevarlas juntas a otro lugar sobre la lnea. Las copas estn numeradas para
facilitar la descripcin del procedimiento.
Solucin
Esa exhibicin de habilidad con las cuatro copas vacas y las cuatro llenas
puede recordarse siguiendo esta regla: Un movimiento largo, dos cortos,
despus uno largo. Mueva primero 2 y 3 hacia el extremo final, despus
llene el hueco con 5 y 6. Llene el hueco con 8 y 2, y termine con 1 y 5.
La nueva estrella

Este extrao acertijo est concebido a partir de la reciente afirmacin de un

astrnomo francs que asegura haber identificado una nueva estrella de
primera magnitud.
La ilustracin muestra al erudito profesor describiendo su nuevo
descubrimiento a sus colegas astrnomos. Ha dibujado la posicin de quince
estrellas de diferentes magnitudes, y ahora est a punto de mostrar cul es
la posicin que ocupa en el cielo su nuevo descubrimiento.
Vean si pueden dibujar la forma de una estrella de cinco puntas que sea
tanto ms grande que cualquiera de las otras pero que no toque a ninguna
de ellas!
Solucin
El diagrama adjunto muestra cmo deberan localizar la nueva estrella los
astrnomos franceses, que resulta ser de dimensiones tan heroicas que
ensombrece a todas las otras estrellas.

Batalla real

En la historia de Francia se cuenta una entretenida historia acerca de cmo

el Delfn se salv de un inminente mate mientras jugaba al ajedrez con el
duque de Borgoa, rompindole al duque el tablero en la cabeza y
partindolo en ocho partes.

Los autores de ajedrez suelen citar esta historia como ejemplo de que no
siempre es buena poltica jugar para ganar, y ha dado adems origen a una
fuerte lnea de ataque conocida como el gambito del Rey.
El hecho de que el tablero se partiera en ocho partes siempre impresion mi
fantasa juvenil, ya que me pareca posible extraer de all los elementos de
un importante problema. La restriccin a esas ocho partes no da lugar a
gran dificultad o variedad, pero como no me siento en libertad de alejarme
de la verdad histrica, dar a nuestros lectores un problema simple
adecuado para la poca estival.
Muestre cmo reunir las ocho partes para formar un tablero perfecto de 8 x
8.
El acertijo es simple, y sirve para ensear una regla valiosa que debe
respetarse al construirse acertijos de esta clase Como no hay, dos partes de
igual forma, se evitan otras vas para resolverlo y la solucin se torna ms
difcil.
Solucin
La siguiente ilustracin muestra el tablero de ajedrez que el joven delfn
rompi sobre la cabeza del duke de Borgoa, restaurado por el carpintero de
la corte.

Los mosaicos Guido

Generalmente no se sabe que la celebrada pieza de mosaicos venecianos

de Domenichino, conocida como la coleccin Guido de cabezas romanas,
estaba originariamente dividida en dos grupos cuadrados, descubiertos en
diferentes perodos. Fueron ensamblados para que recuperaran lo que se
supone su forma correcta, en 1671. Aparentemente, fue accidental que se
descubriera que cada uno de los cuadrados se compona de piezas que
podan unirse y formar una pieza mayor de 5 x 5, como se ve en la
ilustracin.
Es un bonito acertijo, y como muchos acertijos, al igual que las
proposiciones matemticas, pueden resolverse de atrs para adelante
ventajosamente, invertiremos el problema y le pediremos que divida el
cuadrado grande en el menor nmero posible de piezas que puedan ser
reensambladas para formar dos cuadrados.
Este acertijo difiere del principio pitagrico de cortar con lneas al sesgo,
sabemos que dos cuadrados pueden dividirse por sus diagonales para
producir un cuadrado ms grande, y viceversa, pero en este acertijo
debemos cortar solamente por las rayas para no destruir las cabezas.
Incidentalmente diremos que los estudiantes que dominan el problema

pitagrico no hallarn demasiadas dificultades para descubrir cuntas

cabezas deber haber en los dos cuadrados que resulten.
Los problemas de esta clase, que requieren la "mejor" respuesta con "el
menor nmero posible de piezas", ofrecen gran estmulo a la inteligencia. En
este problema, la menor solucin no destruye ninguna de las cabezas ni las
vuelve del revs.
Solucin
Este acertijo est basado en el famoso problema 47 de Euclides que
demuestra que los cuadrados del lado y la base deben ser iguales al
cuadrado de la hipotenusa.
Aqu podemos ver que el cuadrado de 3 mas el cuadrado de 4 es igual al
cuadrado de 5

Los canales de Marte

He aqu un mapa de las recientemente descubiertas ciudades y canales de

nuestro planeta vecino ms cercano, Marte.
Comience en la ciudad marcada con una N, en el polo sur, y vea si puede
deletrear una oracin completa recorriendo todas las ciudades, visitndolas
slo una vez y regresando al punto de partida.
Cuando este acertijo apareci en una revista por primera vez, ms de
cincuenta mil lectores dijeron: "No hay solucin posible". Sin embargo, es un
acertijo muy simple.
Solucin
Los cincuenta mil lectores que contestaron "No hay solucin posible"
resolvieron el acertijo, pues sa es la frase que da una vuelta completa por
el planeta!
El reloj loco de Zurich

Los turistas suizos reconocern de inmediato en la ilustracin una iglesia

abandonada en un lugar solitario situado en las afueras de Zurich, y
recordarn la pavorosa historia de su reloj embrujado.
Omitiendo los aspectos sobrenaturales y misteriosos de la historia, relatada
a los turistas en muchas versiones, podemos enunciar brevemente que la
iglesia fue construida a mediados del siglo quince. Fue dotada de un reloj
por el ciudadano ms viejo del lugar, un hombre llamado Jorgensen, famoso
por ser el fundador de la fbrica de relojes que dio renombre al lugar.
El reloj fue puesto en funcionamiento a las seis de la maana, acompaado
por la ceremonia que los suizos emplean en la inauguracin de todos los
acontecimientos, incluso los de menor importancia. Desafortunadamente,
las manecillas del reloj haban sido montadas sobre los piones incorrectos.
La manecilla de las horas empez a marchar, en tanto la de los minutos
marchaba doce veces ms despacio, con lo que los campesinos designan "la
dignidad de la manecilla de la hora".
Despus de que se le hubieron explicado los caprichos del embrujado reloj
al viejo y enfermo relojero, ste insisti en que se le llevara a ver el extrao
fenmeno. Debido a una asombrosa coincidencia, cuando lleg, la hora

sealada por el reloj era absolutamente correcta.

Este hecho ejerci sobre el anciano tal efecto que muri de alegra. El reloj,
no obstante, continu produciendo sus extraos caprichos, y se lo consider
embrujado. Nadie tuvo la audacia de repararlo o de darle cuerda, de modo
que todas sus piezas fueron oxidndose, y todo lo que queda de l es el
curioso problema que ahora propongo.
Si el reloj fue puesto en marcha a las seis, como muestra la ilustracin, y la
manecilla de las horas se mova doce veces ms rpido que la otra, cundo
llegarn ambas manecillas, por primera vez, a una posicin en la que
indiquen la hora correcta?
Solucin
El reloj loco volver a mostrar la hora correcta a las 7 horas, 5 minutos, 27
segundos y 3/11.
(Loyd no explica cmo obtener esta respuesta, pero no podemos resistirnos
a sealar cun simple es el problema una vez que uno ha resuelto el
anterior acertijo del reloj, "El problema del tiempo". Supongamos que el reloj
embrujado verdaderamente tiene 4 manecillas -un par que se mueve
correctamente y otro invertido-. Las manecillas intercambiadas slo
mostrarn la hora correcta cuando coincidan con el otro par -ambas
manecillas de las horas juntas, y ambas manecillas de los minutos
tambin-.
Como uno de los pares est invertido, podemos considerar que las dos
manecillas que sealan las 12 son una manecilla horaria y otra, minutera, y
preguntarnos cundo volvern a coincidir estas dos. se es, precisamente,
el interrogante del anterior problema del reloj, cuya respuesta es 5 minutos,
27 segundos y 3/11 pasada la 1. En este caso, sin embargo, slo nos da la
posicin del minutero embrujado.
Volvemos ahora nuestra atencin hacia el par de manecillas horarias que
sealan las 6 y nos hallamos en situacin anloga. Como una de ellas se
mueve como minutero, las dos volvern a reunirse a la misma distancia
despus del 6 a la que las otras dos manecillas se reunirn despus de las
12. De ah la respuesta ya citada.)
El gran problema de colon

Recientemente me encontr con una vvida descripcin escrita acerca de la

locura por las apuestas durante el siglo XV, donde, entre otros juegos de
azar o de inteligencia que tanto entusiasmaban a los caballeros al punto de
hacerles apostar sin control, se mencionaba el deporte de posar huevos
sobre una tela.
se fue, posiblemente, el verdadero origen de la historia del huevo de
Coln, que a pesar de tener una astuta moraleja siempre me ha parecido
demasiado floja para un perodo tan feroz. Ca en la cuenta de que el juego
requera ingenio y originalidad de pensamiento.
Es un simple juego para dos participantes. stos deben situar
alternativamente huevos de tamao uniforme sobre un pao cuadrado.
Cuando se ha puesto un huevo, este no debe ser rozado ni movido por otro.
El juego prosigue hasta que el pao est tan colmado que resulte imposible
colocar otro huevo. La persona que acomod el ltimo huevo es el ganador,
y como las dimensiones del pao o de los huevos, as como las distancias
variables que puede haber entre huevo y huevo, carecen de importancia,
parecera que la cuestin de colocar el ltimo huevo fuese cosa de suerte.
Sin embargo, el primer jugador puede ganar siempre gracias a una astuta
estrategia que, tal como lo expresara el gran navegante, "es lo ms fcil
del mundo una vez que se nos ha dicho cmo hacerlo!".
Solucin

El secreto estriba en poner el primer huevo exactamente en el centro del

pao tal como muestra el diagrama cuadrado. Entonces,
independientemente del lugar donde el contricante coloque un huevo, hay
que duplicar su jugada en el lado opuesto y en lnea directa a travs del
huevo N 1. Los nmeros dados ilustran el comienzo del juego,
continuando en el orden regular de jugadas.

El hecho de colocar el primer huevo en el centro no bastara para ganar si

se lo colocara tumbado sobre la mesa, pues, gracias a la forma oval del
huevo, el segundo jugador podra colocar otro huevo muy prximo al
extremo cnico, tal como se ve en la ilustracin, fuera del cuadrado. Esta
jugada no podra ser duplicada.
La nica manera de ganar, entonces, tal como lo descubri el gran
navegante, es achatar un extremo del primer huevo, de tal modo que se
quede de pie.
El cardumen de serpientes marinas

La produccin de serpientes marinas ha sido inusualmente grande este ao,

y se han visto muchas variedades nuevas en los lugares de vacaciones junto
al rasar. Las fbulas de los marinos de Nantucket son ms estremecedoras
que nunca, y notablemente originales, a pesar de referirse a un tema tan
antiguo.
El advenimiento de la cmara fotogrfica, sin embargo, ha desilusionado a
la opinin pblica y ha situado a la industria de las serpientes de mar sobre
una base sustancialmente comercial. Los cuentos exagerados de los viejos
marineros y los libros de bitcora profesionalmente autentificados, ya no
son aceptados, a menos que estn respaldados por una serie de
fotografas.
Un capitn afirm que, mientras se hallaba al pairo en las inmediaciones de
Coney Island, fue rodeado por un cardumen de serpientes marinas, muchas
de las cuales eran ciegas.
"Tres no podan ver con los ojos a estribor", inform, "y tres no vean nada a
babor. Tres podan ver a estribor, tres a babor; tres podan ver tanto a
estribor como a babor, en tanto otras tres tenan ambos ojos arruinados".
De modo que en el libro de bitcora se consign y se jur que "haba
dieciocho serpientes a la vista".
Pero un par de fanticos de la cmara que fotografiaron el cardumen de
monstruos, han revelado sus negativos de un modo que niega todo el relato

y reduce el nmero de serpientes al mnimo de posibilidades. Cuntas

serpientes tena ese cardumen?
Solucin
Haba tres serpientes totalmente ciegas y tres con ambos ojos sanos.

La prisin de Burgos
Ests en una crcel de Burgos. sabes que slo hay dos puertas, una es la
salida a la libertad y la otra lleva a una fosa. Te vigilan dos guardias: uno
dice siempre la verdad, el otro no la dice nunca, es decir, siempre miente. Te
han dicho que saldrs de la prisin si con una sola pregunta a uno de los
guardias adivinas qu puerta da a la calle. pero lo que t no sabes es quin
dice la verdad o mentira.
Es fcil, piensa un poco, pones en juego tu libertad.
pregunta a uno de los dos: Qu me contestara tu compaero si yo le
preguntase cul es la puerta que da salida a la calle? Si lo preguntas a quin
siempre dice la verdad te responder equivocadamente, porque te
responder lo que de verdad te respondera el mentiroso: te dir que la
puerta de la calle es la del foso; por lo tanto deberas salir por la otra
puerta, que es la buena. Si lo preguntas al mentiroso, en lugar en lugar de
decirte lo que realmente te respondera el que dice la verdad, te dir que la
puerta de la calle es la del foso; por lo tanto sal por la otra puerta que es la
buena. haciendo esta pregunta a cualquiera de los dos guardianes te
contestarn lo mismo: lo contrario de la verdad. Lo que no sabrs es quin
dice la verdad y quin miente.

Los jugadores estn intentando infiltrarse en alguna organizacin, reunin

secreta, o cualquier situacin similar... cualquiera puede entrar al sitio en
cuestin pero, para ello, debe conocer la contrasea.
Puesto que los jugadores desconocen la contrasea, deciden espiar a los
que pretenden entrar: tras saludar al portero que da acceso al lugar, cada
uno de los que intentan acceder al lugar escuchan como el portero les dice
un nmero "disimulado" en una frase, a lo cal el personaje contesta con
otro nmero del mismo modo; dependiendo de su respuesta entran o no (si
quieres darle emocin al juego, puedes hacer que aquellos que fallen sean
asesinados en el acto, as los jugadores se lo pensarn dos veces antes de
precipitarse en su respuesta).
Los jugadores observan las siguientes situaciones:
Situacin 1:

- PNJ 1: Buenas noches.

- Portero: Buenas noches, saban que hace ocho aos hubo un incendio en
este edificio?
- PNJ 1: Pues no, hace poco que he vuelto a la ciudad, pues he estado cuatro
aos vagabundeando por el mundo.
- Portero: Veo que es un hombre de mundo, puede pasar.
(Nmero dicho por el portero: 8, respuesta del PNJ: 4, resultado: el PNJ
entra).
Situacin 2:
- PNJ 2: Hola, amigo, qu tal?
- Portero: No me quejo, aunque trabajar catorce aos en lo mismo aburre.
- PNJ 2: Le comprendo, yo estuve siete aos trabajando como minero... con
el tiempo todos los trabajos se hacen montonos.
- Tiene razn; bueno, supongo que querr entrar, pase, por favor.
(Nmero dicho por el portero: 14, respuesta del PNJ: 7, resultado: el PNJ
entra).
A estas alturas, los jugadores estarn convencidos de saber cual es la
contrasea para entrar: la mitad de ocho es cuatro y la mitad de catorce es
siete, qu fcil, no? Pues cuando creen tener la solucin y antes de que les
d tiempo a ir a responder, observan una tercera situacin (no dejes que los
jugadores vayan con sus personajes a hablar con el portero, as tendrn que
ver forzosamente la siguiente escena que har que su primera idea sea
descartada).
Situacin 3:
- PNJ 3: Hola, vena a ver un amigo... si es posible.
- Portero: Claro, supongo que usted es uno de los cuatro hombres que
estava esperando el seor, cierto?
- Pues s, me dijo hace dos das que vinera a visitarle un da de estos y aqu
me tiene.
- Disculpe, olvid decirle que el seor est en un viaje de negocios y no se
cuando volver, me temo que tendr que venir en otra ocasin...
(Nmero dicho por el portero: 4, respuesta del PNJ: 2, resultado el PNJ no
entra... o muere si decides usar la versin "gore" del enigma).
Solucin: hay que responder con el nmero de letras que forman el nmero
dicho por el portero.

En la Situacin 1, el portero nombra el nmero ocho que est formado por

cuatro letras.

- Un hombre se acerca a la entrada de un local, y el portero le dice: "Cinco"

a lo que el hombre responde "Cinco". El portero se hace a un lado y lo deja
entrar.
- Otro hombre se acerca al mismo local, el portero le dice: "Tres", y el
hombre responde "Cuatro". El portero piensa un segundo, y luego lo deja
pasar.
- Un cercer hombre se acerca al local, y el portero, con el mismo tono, le
dice: "Ocho". El hombre se detiene un segundo, piensa piensa piensa, y al
cabo de unos instantes responde "Cuatro". El portero asiente y lo deja
entrar.
(supongamos que uno de los personajes quiere entrar)

- El personaje se acerca, el portero lo mira raro, pero luego, de la misma

forma que lo ha hecho antes, dice: "Seis".
Cul sera la respuesta correcta del personaje para poder entrar?
La respuesta es "Cuatro" - La explicacin del acertijo es la siguiente:
- El portero dice un nmero, cualquiera, y la persona que desea entrar tiene
que responder con el nmero de letras que forman la palabra que el portero
acaba de enunciar, por ejemplo para "uno" la respuesta sera "tres".

"I have lots to say but never speak,

I open but you cannot walk through me,
I have a spine but no bones.
What am I?"
Answer: A Book,

1) Match the Mirror: The reflection shown in the mirror in this

room isn't right. There's an extra object, or an object missing
(or even an extra person!). The players need to find the
missing object, and place it in the right spot in the mirror to
pass.
2) Orbs unleashed: Three orbs await infusion with elemental

energies. In the correct order, they will become a powerful tool

for the PCs. In the wrong order, they will explode, destroying
themselves and damaging the characters.
3) History in the Making: The history lessons about this
battle are all wrong. Scattered through-out the castle are
journals and battle logs from the soldiers who fought in it. If the
characters can piece together the truth, they can clear their
ancestor's names.
4) Lack of Support: A fairly starightforward puzzle. The
treasure the PCs are looking for has been hidden within a false
support on the lowest level of the dungeon. Useing the
blueprints and the builder's notes, they need to figure out
which one to destroy.
5) Weighing in: The classic weight problem, with a twist instead of matching the weights exactly, they need to make
one side weight slightly more, without weighing it down too
much, so that the other will rise slowly into the hole in the
ceiling as an elevator, instead of a catapult.
6) Lend me a... There is a statue on a rotating base. The
statue is of a wizard with one arm out, hand open, and the
other hand pointing a wand at the first. There are two magic
runes engraved in the floor, several feet apart. If the PCs put
the correct object in the statue's hand and turn it to face the
correct rune, it summons something cool (phat lewtz, a key to
the goal area, whatever). With the wrong object and/or the
wrong rune, it summons a demon to attack them. There are
clues elsewhere in the dungeon to indicate what the correct
stuff is (in my setup it's a portrait of the same wizard, holding
the correct object, and with the correct rune drawn in the
background somewhere).
7) Putting the Clues Together: The characters are doing
research of some kind. Each successful skill check yields a
specific clue, written on a piece of paper as a handout to the
players. Each clue is useful information in its own right, but if
the players are canny and put the context and subtext
together, they might gather an even bigger picture about
what's going on.
8) Justice! Or is it...? This one requires a bit of lateral
thinking. A the question of a murder is presented to the PCs, a
young noble killed to death in his own room. Only two suspects
remain - his servant, an honest youth which he often abused,
and his father, a cruel man given to fits of rage. The youth has
a strong reputation for honesty, and a sweet temper, but his
only alibi is that he was asleep, alone when the crime was
committed. The father is well known for his cruelty and temper,
but another noble, a good friend of his, vouches for his

whereabouts. The PCs must decide which to send to the

gallows.
9. Tesser-mirror-act: There is a mirror on the wall. It can be
removed from the wall, but is just a bit too large to remove
from the room without breaking it. The mirror appears to show
a reflection of the room (complete with reflected characters),
but if it is moved, it will be seen to be a magic portal into
another room. It can be placed on all four walls, as well as the
ceiling and floor, and on each wall it opens into a different
chamber. The mirror is the only way to reach these chambers.
A character can step through the mirror, like quicksilver, but
will find that the party's "evil twins" are in the room in the
mirror. -- And his "evil twin" exits just as he was entering. The
evil twins will attack the party instantly, but any attacks on a
twin also affect the real character, and vice versa. If one dies,
the other dies. (How to deal with this, I have no idea!) Each of
the six rooms has a piece of a key, and when all six parts are
assembled, it leads somewhere else. If the mirror is broken, the
rooms become inaccessable, but the evil twins will continue to
stalk the party through mirrors and reflections.
10. Treasure Trick: A chest in the room is empty. There is a
mirror on the wall, that shows everything to be normal, except
that the chest contains treasures and magic items. As the party
watches in the mirror, and old man comes and removes an
item from the mirror-chest and leaves again. He does this
repeatedly until the chest is empty, at which time he points at
the party and laughs hysterically. If the mirror is tilted on its
side, the remaining treasure will spill out of the chest upon the
floor, both in the mirror and in reality. If the old man is present
when this happens, he will also fall down and appear in the
room, where he will answer one question truthfully (with a
cryptic riddle of course)before cackling and disappearing in a
puff of smoke. (Shamelessly stolen from Pulp Dungeons: An
Infestation of Kobalds, but its too good to ignore)
11: Map of Mystery: The players come into ownership of a
map that they can't quite figure out-it's in a language none of
them speaks, and they don't have easy access to linguistic
magic. But many of the words are repeated several times
throughout the map- can the party make sense from the
context of the words to get more information from the map
than the obvious? Another riff on this: The script used on the
map belongs to one language family (Barazhad, f'rex), but the
language used is not one that belongs to that family, but a
different one, and unless someone who knows both sets of
languages (or a group working together) examines it, it's
simply gibberish.

12) Horrible Orrery: This is something I did a while back to

spice up a boss battle: the PCs had delved into the dungeon
temple of a cult of a goddess of night, and finally confronted its
high priestess in her lair: a cavernous room filled with a huge,
elaborate brass orrery depicting the sun, the moon, the world
and the various other planets as 20' wide globes, and which
could be manipulated from a control box off to the side. The
gearworks and the moving globes were a hazard during
combat, but the real danger was the enchantment woven into
the orrery - if the spheres were moved to where the moon was
"new," between the sun and the earth, the night priestess
gained special powers and became nearly invulnerable; if it
were rotated to a position where the moon was full, her
werewolf bodyguard gained that benefit instead. With all the
pieces turning at different rates, the job of the PCs was to
figure out how to arrange things so the moon would be to
the side of the earth, benefiting neither.
13) What's in a Name: A big, bad, evil NPC has disguised
himself as a helpful/friendly NPC to infiltrate the party's
organization. But he's so smug about it (or wants them to find
out anyway for roundabout reasons), that his cover identity is
his name, spelt backwards.
Now, no one's likely to fall for "Alucard" in this day and age, but
they might not get "Sucro" or "Ancev" or "Noldrahsa" right
away.
14) The Clockwork Maze: A series of micro-mazes (4 would
be best, in a 2x2 line-up) stand upon platforms that are
connected by massive cogs underneath. With each tick, one or
more of them shift, the entire micro-maze shifting and aligning
with a different portion of it's neighbours and the surrounding
dungeon. There is only a single exit that leads forwards, but
several that lead into other mazes that lead back into another
sector of the micro-maxe.
Cheats: Of course, with a set-up this complex, the players can
get clever, and try to upset the clockwork below. Things like
destroying part of the floor to get at the cogs below,
polymorphing into a bug, and dodging gears to get to the exit
and sending familiars ahead to scout are all great solutions to
this puzzle, and should be rewarded as such.
15) The Way To In this puzzle, the PCs are presented with an
8 by 8 grid, with a coin in the center, and the phrase 'Show me
the path to the Greatest Wealth' above it.
There are, of course, several solutions and ways to play this.
You can make the solution be simply 'Greatest Wealth' - They
need to reduced each letter to a number between 1 and 8, and
correlate the spot that each occupies on the grid, removing it
utterly for the last letter (as it has no pair).
The grid might correlate to a map shown earlier, or even with

the grid itself, and the path might be tracing a trade route.
Or perhaps when the coin is moved from it's position in the
center, it doubles as it moves into the next grid space, but
disappears if it ever crosses it's own path. The players must get
the greatest amount of wealth off of the gird by the doubling.
16) the entrance hall has a pit in the middle. Crossing the pit is
a rope at floor level. The door leaving the hall leads to a
heavilly trapped corridor that eventually culminates in a dead
end. The rope is a magic item, anyone walking across the rope
(requires good balance) is teleported past the corridor to the
next room.
17) The party is traversing through a sacred temple. As they
try to gain access to deeper sections of the temple, they must
first approach an alter and a statue with a hand to its ear,
nearby are the instructions written "Only a pure of heart and
mind may pass. Confess what darkens your heart, what haunts
your dreams, and what regret falters your step." The idea is
that one by one the party must speak aloud (or whisper) to the
statue their character's darkest secret (Make sure you as the
DM at least knows this). Once everyone has shared, the way
beyond opens and they can continue on through the temple.
Later, have them face a Chain devil with Unnerving Mask that
embodies each characters' deepest regrets.
19. Painted Minotaur Room: The walls of this room are
covered with paintings depicting pairs of standing minotaurs,
approximately nine feet high, facing each other. One of the
minotaurs is painted over a locked door, with a keyhole in its
torso. The minotaur directly across from it has a small key,
about two inches long, painted on its torso roughly in the
location of the heart. Standing motionless in the center of the
room is the shadowy form of an actual, insubstantial minotaur.
A shadowy key floats inside the minotaur right where its heart
would be.
Touching the insubstantial minotaur will cause it to solidify as a
stone statue and attack. Touching the painted minotaur with
the key will have the same effect. The first touch will activate it
for one round, the second for two, and every touch thereafter
for three rounds of combat. Weapons cannot damage it, but
can be used to turn it aside to prevent damage to others. It will
attack with blind fury and is incapable of speech, but it cannot
pass the doors of the room. If all persons leave the room at any
time, the room will "reset" to its original configuration.
At the end of its turn on the last round of activation, the stone
minotaur will freeze in whatever position it was in and return to
insubstantiality. The painted minotaur with the key will also
change its stance and position to match that of the shadowminotaur.
Solution 1: Touching just the painted key will cause the

insubstantial key to solidify and drop to the floor. However, PCs

must be careful to take the solid key without touching the
shadow-minotaur's feet!
Solution 2: If the painted minotaur with the key is maneuvered
around the room so that it crosses the painted minotaur with
the lock, the door will unlock.
Solution 3: The stone minotaur can be maneuvered to crash
into the door and break it down.
Solution 4: Use the shadow of a hand to take the shadow-key
out of the insubstantial minotaur without activating the statue.
The shadow-key must then be solidified by touching it with
something substantial, or by touching the painted key.
20) Lever Door: A door is opened via a lever that sits to one
side of the door. It causes the door to slowly rise into the ceiling
(or drop down). This doorway leads to another similar door
without a lever, or other immediately obvious means of
opening.
This new door is opened by a lever on the rear side of the first
door. The solution is to pull the first lever and quickly dart
under the first door (or , then press the lever on the rear of the
first door to open the second. This could be more complicated
in large groups - optionally beyond the second door could be
another lever to control the first door. You could also have the
second door lead to a treasure chest.
21) Sum Puzzle: A room's floor is taken up by a grid of square
pressure pads. Each tile has a certain number of dots on it.
There are two passages leading away from the room. One
passage, to the south, is a continuation of one of the pressure
pads in the grid. The other passage, to the west, leads
onwards. Both passages have doors. The south passage's door
has a Sigma on it followed by the number 37. The west
passage's door has a Sigma on it followed by the number 45.
When a creature's mass activates a pressure pad they hear a
number of clicks equal to the number of dots on the grid.
Record the number of clicks each player has made happen. If a
player attempts to open a door and the number of clicks they
have made happen is not the number on the door they take
2d10 psychic damage. Beyond the south door is treasure.
The grid is arranged thus (the south door is next to the "07"):
.......19 - 02 - 11
Door - 07 - 04 - 03
.......06 - 05 - 17 - Entrance
.......08 - 07 13
Rooms of seasons: The dungeon resembles a forest during
different seasons. In areas of the dungeons there are sun dials
you can use to change the seasons. Certain pathways open or
close change according to what season the room is (for

example, one hallway is impassible in every season except

autumn; during spring and summer its overgrown with thorn,
and during winter is blocked off with a snow drift). The
monsters also change depending on what season a room is (For
example, one encounter is a trio of Nymphs, who become Hags
when the room shifts to Autumn, and vanish entirely in the
winter).
Monty Hall Problem: A clever wag has set up a shell game in
a tavern or market stall where he challenges customers to
bet x gold pieces (say up to a maximum of 5 gp per bet) on
which of three shells is hiding a wooden token. Once a player
chooses a shell, the game operator (played by the GM, who
knows in advance which shell hides the token) reveals one of
the other two shells to be empty. Then he asks the player if he
chooses to switch his pick to the remaining (unrevealed) shell,
or stick with his first choice. The shell hiding the wooden
token's true location is then lifted. If the player chose correctly,
he doubles his bet, otherwise he has lost the bet. Players may
continue playing the shell game until the operator loses more
than 50 gp, at which time he'll swear an oath and refuse to
accept any more bets. The players may be assured the shell
game operator is on the up-and-up - this a simple(?) game of
chance and no magic trickery or sleight of hand is involved.
(The GM can station a royal guard nearby keeping a close eye
on him.)
Bridge Puzzle: Deep in a dungeon the players come upon a
30 foot by 30 foot square room containing a square pit
measuring 24 feet by 24 feet. In the exact center of the pit is a
pedestal measuring 2 feet square, upon which a valuable
treasure is located. The pit appears to be bottomless. There are
no bridges or other visible means of crossing the pit to the
pedestal. However there are two 10 foot by 2 foot planks of
wood lying on the floor next to the room entrance. How do the
players cross the chasm to claim the treasure? To assist the
players, the GM ought to have a map of the room with two
pieces of paper representing the wooden planks, carefully
measured so they're to scale.
Knights and Knaves variant: The players encounter two
sturdy locked doors in a labyrinth. Upon each door is a brass
face, animated by magic. The faces speak in unison as the
players approach, stating they are the Guardians of the
Labyrinth. Furthermore: 1) One of the doors leads to the
labyrinth exit, the other to certain death, 2) The players may
ask one, and only one, Yes/No question of either Guardian, 3)
One Guardian always answers Yes/No questions truthfully, the

other always responds with lies, but it is not revealed which is

which. This particular puzzle was featured in the 1986
film Labyrinth.
Habitacion Blade The Edge of Darkness: Los heroes entran en
una habitacion y la puerta de salida, por la que deben
continuar esta cerrada. Hay tres interruptores, uno de ellos
abre la puerta, otro, al pulsarlo, es una trampa de flecha y el
otro, llena la habitacion de gas. Los pulsadores pueden tener
alguna dibujo que aparezca en alguna otra parte del reto, a
modo de pistas.
Habitacion Esfinge: Los heroes entran en una habitacion, un ser
(estatua, fantasma..etc) les expone un enigma (se admiten
ideas que los del hobbit nos los sabemos todos). Si los heroes
aciertan, encuentran una puerta secreta especial que lleva a
un tesoro (cualquiera). Si no, el ser desaparece o vuelve a su
estado de letargo sin que pase nada mas, despues de decirles
a los heroes: "Habeis errado".
Habitacion estilo Indiana Jones en el templo Maldito: Los heroes
encuentran en una habitacion una palanca, al accionarla no
pasa nada visible. Mas tarde encuentran una habitacion trampa
de forma cuadrada, con dos puertas ,una de salida y otra de
entrada. Al entrar el primer jugador, ambas puertas se cierran
y las paredes que no tienen puertas cada turno avanzan una
casilla. Los compaeros deberan correr hasta la palanca y
accionarla, o su compeero morira. Debe existir aleatoriedad.
(Yo uso la regla correr como accion pero doy +1D6 puntos de
movimiento, no doy un movimiento fijo.)
La habitacion "divide y venceras". Una habitacion con tantas
puertas como heroes haya. Cada una continua por un sitio
diferente a las demas y se cierra, sellandose cuando un heroe
la atraviese, no permitiendo el paso por el mismo sitio a los
demas heroes.
Habitacion de las baldosas trampa. Solo hay un camino a
traves de esta habitacion, la lastima es que sea invisible e
indetectable. Cuando alguien pise una baldosa que se salga del
camino, recibira un dao de un punto de mente debido a una
profunda descarga magica.
Habitacion Trampa del tiempo: Al entrar las puertas se cierran,
en el centro un gran relog de arena. Arriba el techo tiene
afilados pinchos. La arena del relog comienza a caer, durara 3
turnos o un minuto de tiempo real. (Metes prisa a los
jugadores) Si se acaba el tiempo los pinchos matan al heroe.

La unica manera de detener los pinchos es romper el relog

gigante de arena. Tiene 3 puntos de cuerpo y no se defiende.
The party find themselves in a room with a nonfunctional
teleportation circle in the middle, surrounded by five statues of
dragons. Each statue is a different chromatic dragon, but
because they're all stone and unpainted, the only way to tell
them apart is by shape. Five hallways go off from the room,
each leading to a simple challenge that protects a magic orb.
Each orb is a damage-type changing effect (Orb of Acid, Orb of
Fire, etc.). Once all orbs have been recovered, they must be
placed in the mouths of the correct dragon (Orb of Acid in the
Black Dragon, Orb of Lightning in the Blud Dragon, etc). Once
the last orb has been placed, the teleportation activates and
takes the PCs elsewhere, leaving the orbs behind.

The party enters a room that is obviously the final resting place
of a famous king/queen/warrior etc. On the walls are painted
the famous figure's life story, including how they died. I merely
mentioned that the walls were elaborately painted and allowed
a check to see what was on it. Describe a couple of important
moments (the death of a parent, their crowning, their death).
You must be sure to describe their death, but don't make it
seem any more important than the rest of the dungeon.
In the center of the room is a statue of the person. Throughout
the room is the treasure they have accrued. This works
especially well for royalty, as you can put a real crown on the
stone statue.
Whenever any of the treasure is touched the statue comes to
life and attacks the intruders. This shouldn't be too hard of a
fight, as it will get tougher when the statue reassembles itself,
and comes at them again at full strength.
In order to kill it they must repeat the way the person originally
died. Try to make this something a little elaborate (but not too
crazy), or something simply but unlikely. For example, if no one
in the party carries a spear, have them die to a spear through
the chest. Now the party must find a spear (you can have
several among the treasure) and stab the statue through the
chest with it.
Depending on how quickly you expect the party to figure this
out can determine how strong you want to make the creature (I
used an Animated Statue, I believe, for the party was fairly low
in level).

Por ejemplo, en la estancia hay un mosaico de una serpiente y

al entrar se activan varias trampas de lanzas y cuchillas que
cubren prcticamente todo el espacio de la estancia, excepto
un pequeo espacio de 50 cms desde el suelo. O sea, para
evitar las trampas, debes arrastrarte, "como una serpiente".
Otra similar es una con un mosaico de un mono, y una estancia
llena de argollas en el techo. La trampa est en que, apenas se
toque el piso, ste cede y revela una trampa de estalagmitas,
que slo se puede evitar colgndose de las argollas, "como un
mono". Por ltimo, est la del guepardo, y en la cual no parece
haber nada, sin embargo, al llegar a la mitad del largo pasillo,
el suelo comienza a derrumbarse rpidamente detrs de ellos,
amenazando con alcanzarlos y tragrselos si no corren hacia la
salida.
1. I have a tail, and I have a head, but i have no body. I am NOT a snake.
What am I?A coin
2. What falls, but does not break, and what breaks but does not fall?
Night falls and day breaks
3. What has four wheels and flies? the town garbage wagon
4. Where may you find roads without carts, forests without trees, cities
without houses? on a map
5. What has eyes yet cannot see? four answers: needles, storms,
potatoes, true lover I've used this one where each character had to
give an answer in order to pass.
6. What crosses the river but doesn't move? Bridge
7. What pine has the longest and sharpest needles? Porcupine
8. Who (or what) knows all languages? Echo
9. What turns everything around but does not move? a mirror
10.Turn us on our backs and open our stomachs, you will be the wisest of
men, though at the start a lummox. What am I? Book
11.What is something that fades and go over time but some of its
residue will always remain? memories
12.A long snake with a stinging bite, I stay coiled up unless I must fight.
Whip
13.What Rooms can't you Enter? Mushrooms
14.Capable of Kindness and cruelty, I take victims when I sour. I can be
on your side or wrong you. I bring gifts though you already have me.
A: Fate.
15.I'm seen to fly, described as hard. I can be your currency and heal all
wounds, but not many things can stand my test. A: Time
16.Pleasant or terrible, I come at night or in daytime. Short or long, but
yours alone, essential, I am... A: A dream

You have a mouth, but cannot talk.

You can run but never walk.
You have a head, but never weep.
You have a bed, yet never sleep.
A: A river
I have township, yet no houses.
Forests, but no trees.
Rivers, but no water.
A: A map
1. It is greater than God and more evil than the devil. The poor have it,
the rich need it and if you eat it youll die. What is it?
Nothing.
2. It walks on four legs in the morning, two legs at noon and three legs
in the evening. What is it?
Man
3. I am the beginning of the end, and the end of time and space. I am
essential to creation, and I surround every place. What am I?
The letter e. End, timE, spacE, Every placE
4. What always runs but never walks, often murmurs, never talks, has a
bed but never sleeps, has a mouth but never eats?
A river.
5. I never was, am always to be. No one ever saw me, nor ever will. And
yet I am the confidence of all, To live and breath on this terrestrial
ball. What am I?
Tomorrow or the future.
6. At night they come without being fetched. By day they are lost
without being stolen. What are they?
The stars.
7.

What is in seasons, seconds, centuries and minutes but not in

decades, years or days?
The letter n.

8. The one who makes it, sells it. The one who buys it, never uses it. The
one that uses it never knows that hes using it. What is it?
A coffin
9. The more you have of it, the less you see. What is it?
Darkness
10.What has a head, a tail, is brown, and has no legs?
A penny.

11.What English word has three consecutive double letters?

Bookkeeper.
12.Whats black when you get it, red when you use it, and white when
youre all through with it?
Charcoal.
13.You throw away the outside and cook the inside. Then you eat the
outside and throw away the inside. What did you eat?
An ear of corn.
14.I am always hungry,
I must always be fed,
The finger I touch,
Will soon turn red
Fire
15.Ripped from my mothers womb,
Beaten and burned,
I become a blood thirsty killer.
What am I?
Iron ore
16.I know a word of letters three. Add two, and fewer there will be!
Few
17.I give you a group of three. One is sitting down, and will never get up.
The second eats as much as is given to him, yet is always hungry. The
third goes away and never returns.
Stove, fire, smoke
18.I have four legs but no tail. Usually I am heard only at night. What am
I?
A frog. The frog is an amphibian in the order Anura (meaning tailless) and usually makes noises at night during its mating season.
19.Half-way up the hill, I see thee at last, lying beneath me with thy
sounds and sights A city in the twilight, dim and vast, with smoking
roofs, soft bells, and gleaming lights.
The past. (Longfellow)
20.When young, I am sweet in the sun.
When middle-aged, I make you gay.
When old, I am valued more than ever.
Wine
21.All about, but cannot be seen,
Can be captured, cannot be held,
No throat, but can be heard.
Wind

22.If you break me

I do not stop working,
If you touch me
I may be snared,
If you lose me
Nothing will matter.
Your heart
23.Until I am measured I am not known,
Yet how you miss me when I have flown.
Time
24.I drive men mad
For love of me,
Easily beaten,
Never free.
Gold
25.When set loose
I fly away,
Never so cursed
As when I go astray.
A fart
26.Lighter than what I am made of,
More of me is hidden Than is seen.
Iceberg
27.Each morning I appear to lie at your feet,
All day I will follow no matter how fast you run,
Yet I nearly perish in the midday sun.
Shadow
28.My life can be measured in hours,
I serve by being devoured.
Thin, I am quick
Fat, I am slow
Wind is my foe.
A candle
29.I am seen in the water if seen in the sky,
I am in the rainbow, a jays feather,and lapis lazuli.
Blue
30.Glittering points that downward thrust,
Sparkling spears that never rust.
Icicle

31.You heard me before, yet you hear me again,

Then I die, till you call me again.
An echo
32.Three lives have I.
Gentle enough to soothe the skin,
Light enough to caress the sky,
Hard enough to crack rocks.
Water
33.At the sound of me, men may dream or stamp their feet,
At the sound of me, women may laugh or sometimes weep.
Music
34.What does man love more than life
Fear more than death or mortal strife
What the poor have, the rich require,
and what contented men desire,
What the miser spends and the spendthrift saves
And all men carry to their graves?
Nothing
35.I build up castles.
I tear down mountains.
I make some men blind,
I help others to see.
What am I?
Sand
36.Two in a corner,
1 in a room,
0 in a house, but 1 in a shelter. What am I?
The letter r.
37.Five hundred begins it, five hundred ends it,
Five in the middle is seen;
First of all figures, the first of all letters,
Take up their stations between.
Join all together, and then you will bring
Before you the name of an eminent king.
DAVID (Roman numerals)
38.It cannot be seen, it weighs nothing, but when put into a barrel, it
makes it lighter. What is it?
A hole
39.How far will a blind dog walk into a forest?
Halfway. After he gets halfway, hes walking out of the forest.

40.What happens when you throw a yellow rock into a purple stream?
It makes a splash.
41.What starts with a T, ends with a T, and has T in it?
A teapot
42.As I went over London Bridge I met my sister Jenny,
I broke her neck and drank her blood and left her standing empty.
A bottle of gin
43.Whoever makes it, tells it not.
Whoever takes it, knows it not.
Whoever knows it, wants it not
Counterfeit money
44.I am, in truth, a yellow fork from tables in the sky,
By inadvertent fingers dropped the awful cutlery.
Of mansions never quite disclosed and never quite concealed
The apparatus of the dark to ignorance revealed.
Lightning
45.You saw me where I never was and where I could not be. And yet
within that very place, my face you often see. What am I?
A reflection
46.Say my name and I disappear. What am I?
Silence
47.What is it that after you take away the whole, some still remains?
Wholesome
48.A box without hinges, lock or key, yet golden treasure lies within.
What is it?
An egg
49.Forward Im heavy, but backwards Im not. What am I?
Ton
50.Why doesnt a mountain covered with snow catch cold?
Because it has a snowcap
51.I can be long, or I can be short.
I can be grown, and I can be bought.
I can be painted, or left bare.
I can be round, or square.
What am I?
A fingernail

52.One by one we fall from heaven down into the depths of past,
And our world is ever upturned so that yet some time well last.
Sands in an hourglass
53.I drift forever with the current down these long canals theyve made,
Tame, yet wild, I run elusive Multitasking to your aid.
Before I came, the world was darker, colder, sometimes, rougher, true
But though I might make living easy, Im good at killing people too.
Electricity (or lightning)
54.Reaching stiffly for the sky,
I bare my fingers when its cold
In warmth I wear an emerald glove
And in between I dress in gold
A deciduous tree
55.Kings and queens may cling to power and the jesters got his call,
But, as you may all discover, the common one outranks them all.
An ace (in a deck of cards)
56.Every dawn begins with me
At dusk Ill be the first you see
And daybreak couldnt come without
What midday centers all about
Daises grow from me, Im told
And when I come, I end all cold
But in the sun I wont be found
Yet still, each day Ill be around.
The letter d.
57.Kings and lords and christians raised them
Since they stand for higher powers
Yet few of them would stand, Im certain,
If women ruled this world of ours.
A tower.
58.Soft and fragile is my skin, I get my growth in mud
Im dangerous as much as pretty, for if not careful, I draw blood.
A thorn
59.Three brothers share a family sport: A non-stop marathon
The oldest one is fat and short And trudges slowly on
The middle brothers tall and slim And keeps a steady pace
The youngest runs just like the wind, a speeding through the race
Hes young in years, we let him run, the other brothers say
Cause though hes surely number one, hes second, in a way.
The hands on a clock (hour, minute, second).
60.Its true I bring serenity,
And hang around the stars

But yet I live in misery;

Youll find me behind bars
With thieves and villains I consort
In prison Ill be found
But I would never go to court,
Unless theres more than one
The letter s
61.I am a box that holds keys without locks, yet they can unlock your
soul. What am I?
A piano.
62.There once was a strange man who loved wordplay, he had a very
important and successful business that would take insect shipments
from all across the world and distribute them to zoos across the US.
ImportANT
63.There is one word that stands the test of time and holds fast to the
center of everything. Though everyone will try at least once in their
life to move around this word, but in fact, unknowingly, they use it
every moment of the day. Young or old, awake or in sleep, human or
animal, this word stands fast. It belongs to everyone, to all living
things, but no one can master it. The word is?
Gravity
64.My days are in the summer
When youll eat me when Im hot
In fact Ill even eat myself
Where battles tough are fought
But when you find me in a fight
Twill be high in the sky
And if you catch me napping
I suggest you let me lie
When youre bad come to my house
From Ma get thoughts profound
Am I big or am I small?
Some say Im just a pound.
Dog. Dog days, hot dog, dog pound, dog fight.
65.My first is twice in apple but not once in tart. My second is in liver but
not in heart. My third is in giant and also in ghost. Whole Im best
when I am roast. What am I?
A pig.
66.What gets wetter as it dries?
A towel
67.This is a most unusual paragraph. How quickly can you find out what
is so unusual about it? It looks so ordinary youd think nothing was
wrong with it and in fact, nothing is wrong with it. It is unusual

though. Why? Study it, think about it, and you may find out. Try to do
it without coaching. If you work at it for a bit it will dawn on you. So
jump to it and try your skill at figuring it out. Good luck dont blow
your cool!
The most common letter in the English language, the letter e, is not
found in the entire paragraph.
68.When you went into the woods you got me.
You hated me yet you wanted to find me.
You went home with me cause you couldnt find me
What was it?
A splinter
69.An iron horse with a flaxen tail.
The faster the horse runs,
the shorter his tail becomes.
What is it?
A needle and thread.
70.You have to travel far before you turn it over. What is it?
An odometer
71.A mile from end to end, yet as close to as a friend. A precious
commodity, freely given. Seen on the dead and on the living. Found
on the rich, poor, short and tall, but shared among children most of
all. What is it?
A smile.
72.Im full of holes, yet Im full of water. What am I?
A sponge
73.Four of us are in your field
But our differences keep us at yield
First, a one that is no fool
Though he resembles a gardeners tool
Next, one difficult to split in two
And a girl once had one as big as her shoe
Then, to the mind, ones a lovely bonder
And truancy makes it grow fonder
Last, a stem connecting dots of three
Knowing all this, what are we?
The four suits in a deck of standard playing cards. The Spade is a
gardeners tool. The Diamond is the hardest gem to break. Little Girl
and Queen is a Mother Goose rhyme, in which the Queen gave the
girl a large diamond for picking the Queen someroses.The Heart
bonds with the mind to form love. Absence makes the heart
growfonder.The Club, or Clover, is three dots connected around a
stem.

74.I am a word of meanings three.

Three ways of spelling me there be.
The first is an odour, a smell if you will.
The second some money, but not in a bill.
The third is past tense, a method of passing things on or around.
Can you tell me now, what these words are, that have the same
sound?
Scent, cent, sent
75.Its red, blue, purple and green, no one can reach it, not even the
queen. What is it?
A rainbow.
76.What question can you never honestly answer yes to?
Are you asleep? (or dead)
77.What has a neck and no head, two arms but no hands?
A shirt (or sweater, jacket etc)
78.I live in water
If you cut my head Im at your door,
If you cut my tail Im fruit,
If you cut both Im with you
What am I?
A pearl. Theyre found underwater. Removing the head (p) leaves
Earl, a guy who could be at your door. Removing the tail (l) leaves
pear, a fruit and if you cut both off youre left with ear, which is with
you because its attached to your head.
79.Feed me and I live, give me drink and I die. What am I?
Fire.
80.What begins and has no end? What is the ending of all that begins?
The best answer Ive heard is death. It ends all that begins, and
theres no end to death. Another answer along the same lines is
decay.
81.A man went to the hardware store to buy items for his house.
1 would cost $.25
12 would cost $.50
122 would cost $.75
When he left the store he had spent $.75, what did he buy?
House numbers
82.What makes a loud noise when changing its jacket, becomes larger
but weighs less?
Popcorn
83.The more you take, the more you leave behind.
Footsteps

84.I am a word of 5 letters and people eat me. If you remove the first
letter I become a form of energy. Remove the first two and Im
needed to live. Scramble the last 3 and you can drink me. What am I?
Wheat, heat, eat, tea
85.Before any changes Im a garlic or spice. My first is altered and Im a
hand-warming device. My second is changed and Im trees in full
bloom. The next letter change makes a deathly old tomb. Change the
fourth to make a fruit of the vine. Change the last for a chart plotted
with lines. What was I? What did I become? What did I turn out to be?
Clove, glove, grove, grave, grape, graph
86.A woman shoots her husband, then holds him under water for five
minutes. Finally, she hangs him. Five minutes later they enjoy a
wonderful dinner together. How can this be?
She took a photo of him and developed it in the dark room.
87.Remove six letters from this sequence to reveal a familiar English
word. BSAINXLEATNTEARS
BANANAS (Removed SIX LETTERS)
88.Alive without breath,
As cold as death,
Clad in mail never clinking,
Never thirsty, ever drinking
A fish
89.With thieves I consort,
With the vilest, in short,
Im quite at ease in depravity;
Yet all divines use me,
And savants cant lose me,
For I am the center of gravity.
The letter V
90.Until I am measured
I am not known,
Yet how you miss me
When I have flown.
Time
91.I never was, am always to be,
No one ever saw me, nor ever will
And yet I am the confidence of all
To live and breathe on this terrestrial ball.
Tomorrow
92.Alive without breath,
As cold as death,
Never thirsty, Ever drinking,

Clad in mail, Never clinking,

Drowns on dry land,
Thinks an island, Is a mountain,
Thinks a fountain, Is a puff of air.
A fish
93.This thing all things devours:
Birds, beasts, trees, flowers;
Gnaws iron, bites steel;
Grinds hard stones to meal;
Slays king, ruins town,
And beats high mountain down.
Time
94.The cost of making only the maker knows,
Valueless if bought, but sometimes traded.
A poor man may give one as easily as a king.
When one is broken pain and deceit are assured.
Promise
95.Who makes it, has no need of it.
Who buys it, has no use for it.
Who uses it can neither see nor feel it.
A coffin
96.I build up castles. I tear down mountains.
I make some men blind,
I help others to see.
What am I?
Sand
97.Glittering points that downward thrust,
Sparkling spears that never rust.
Icicle
98.Die without me, Never thank me.
Walk right through me, never feel me.
Always watching, never speaking.
Always lurking, never seen.
Air
99.Pregnant every time you see her, yet she never will give birth.
Full moon
100.
I go around in circles,
But always straight ahead
Never complain,
No matter where I am led.
Wheel

101. Thirty white horses on a red hill,

First they champ,
Then they stamp,
Then they stand still.
Teeth
102. Voiceless it cries,
Wingless flutters,
Toothless bites,
Mouthless mutters.
Wind
103. I am seen in the water
If seen in the sky,
I am in the rainbow,
A jays feather,
And lapis lazuli.
Blue
104. If a man carried my burden
He would break his back.
I am not rich,
But leave silver in my track.
Snail
105. Each morning I appear
To lie at your feet,
All day I will follow
No matter how fast you run,
Yet I nearly perish
In the midday sun.
Shadow
106. We are five little objects of an everyday sort
you will find us all in the ladies court
Vowels
107. We are very little creatures; all of us have different features. One of us in
glass is set; one of us youll find in jet. Another you may see in tin, and a
fourth is boxed within. If the fifth you should pursue, it can never fly from
you.
The vowels
108. I heard of an invading, vanquishing army
sweeping across the land, liquid-quick;

conquering everything, quelling resistance.

With it came darkness, dimming the light.
Humans hid in their houses, while outside
spears pierced, shattering stone walls.
Uncountable soldiers smashed into the ground,
but each elicited life as he died;
when the army had vanished, advancing northward,
the land was green and growing, refreshed.
Rainstorm
109. Weight in my belly,
Trees on my back,
Nails in my ribs,
Feet I do lack.
Ship
110. Some try to hide, some try to cheat, but time will show, we always will
meet.
Try as you might, to guess my name, I promise youll know, when you I do
claim.
Death
111. Stealthy as a shadow in the dead of night,
Cunning but affectionate if given a bite.
Never owned but often loved.
At my sport considered cruel,
But thats because you never know me at all.
What am I?
Cat
112. Of no use to one
Yet absolute bliss to two.
The small boy gets it for nothing.
The young man has to lie for it.
The old man has to buy it.
The babys right,
The lovers privilege,
The hypocrites mask.
To the young girl, faith;
To the married woman, hope;
To the old maid, charity.

What am I?
Kiss
113. Three lives have I.
Gentle enough to soothe the skin,
Light enough to caress the sky,
Hard enough to crack rocks.
Water
114. The beginning of eternity
The end of time and space
The beginning of every end,
And the end of every place.
The letter E
115. I look flat, but I am deep,
Hidden realms I shelter.
Lives I take, but food I offer.
At times I am beautiful.
I can be calm, angry and turbulent.
I have no heart, but offer pleasure as well as death.
No man can own me, yet I encompass what all men must have.
Ocean
116. A thousand colored folds stretch toward the sky,
Atop a tender strand,
Rising from the land,
Til killed by maidens hand,
Perhaps a token of love, perhaps to say goodbye.
Flower
117. In ye fire thou hear me scream! Creaking and whining yet I am dead
before thoust layeth me upon ye hearth.
Log
118. Hands she has but does not hold, teeth she has but does not bite, feet she
has but they are cold, eyes she has but without sight. Who is she?
A Doll
119. Bright as diamonds,
Loud as thunder,
Never still,
A thing of wonder.
Waterfall

120. Ten Mens Strength,

Ten Mens Length,
Ten Men cant break it,
Yet a young boy walks off with it
What am I?
A rope
121. You heard me before,
Yet you hear me again,
Then I die,
Till you call me again.
Echo
122. Inside me the adventurous find
Quests and treasures of every kind.
Trolls, goblins, orcs, and more, await
Within my closed walls for
All those that wish to visit me.
Your hands are the key
To secrets untold,
And your mind will unlock the door.
What am I?
Book
123. Two bodies have I,
though both joined in one.
The more still I stand,
the quicker I run.
What am I?
An hourglass
124. Lovely and round,
I shine with pale light,
grown in the darkness,
A ladys delight.
Pearl
125. What is it that given one, youll have either two or none?
A Choice
126. Scythe of darkness,
Shadows light.
Guiding eye

Of thirteenth sight.
Moon
127. As beautiful as the setting sun,
As delicate as the morning dew;
An angels dusting from the stars
that can turn the Earth into
A frosted moon.
What am I?
Snow
128. To unravel me
You need a simple key,
No key that was made
By locksmiths hand,
But a key that only I
Will understand.
Cipher
129. As a whole, I am both safe and secure.
Behead me, and I become a place of meeting.
Behead me again, and I am the partner of ready.
Restore me, and I become the domain of beasts.
What am I?
Stable
130. A farmer and his hired help were carrying grain to the barn. The farmer
carried one sack of grain and the hired help carried two sacks. Who carried
the heavier load?
Farmer (the hired help carried empty sacks)
131. When young, I am sweet in the sun.
When middle-aged, I make you gay.
When old, I am valued more than ever.
Wine
132. Walk on the living, they dont even mumble. Walk on the dead, they
mutter and grumble
Fallen leaves
133. What has roots as nobody sees,
Is taller than trees
Up, up it goes,
And yet never grows?
Mountain

134. I have a hundred legs, but cannot stand, a long neck but no head; I ease
the maids life. What am I?
A broom
135. When there is fire in me then I am still cold. When I own your true loves
face then you will not see me. To all things I give no more than I am given. In
time I may have all things, and yet I can keep nothing. What am I?
A mirror
136. I am, in truth, a yellow fork
From tables in the sky
By inadvertent fingers dropped
The awful cutlery.
Of mansions never quite disclosed
And never quite concealed
The apparatus of the dark
To ignorance revealed.
Lightning
137. What is greater than God,
More evil than the Devil,
The poor have it,
The rich want it,
but if you eat me,
youll die?
Nothing
138. I make you weak at the worst of all times.
I keep you safe, I keep you fine.
I make your hands sweat, and your heart grow cold,
I visit the weak, but seldom the bold.
What am I?
Fear
139. What has four wheels and flies?
Garbage truck
140. I dig out tiny caves, and store gold and silver in them.
I also build bridges of silver and make crowns of gold.
They are the smallest you could imagine.
Sooner or later everybody needs my help, yet many people are afraid to let
me help them. Who am I?
Dentist

141. I am the hole in the night,

the ever watchful eye.
I return in a cycle,
to enlighten the sky.
The moon
142. With potent, flowery words speak I,
Of something common, vulgar, dry;
I weave webs of pedantic prose,
In effort to befuddle those,
Who think I wile time away,
In lofty things, above all day
The common kind that linger where
Monadic beings live and fare;
Practical I may not be,
But life, it seems, is full of me!
143. A Riddle
144. A box without hinges, key or lid,
Yet golden treasure inside is hid.
Egg
145. No sooner spoken than broken
Silence
146. On my way to St. Ives,
I met a man with seven wives.
Each wife had seven sacks,
Each sack had seven cats,
Each cat had seven kits.
Kits, cats, sacks, wives,
How many were going to St. Ives?
One
147. A big Indian and a little Indian are walking down the street.
The little Indian is the son of the big Indian but the big Indian is not the
father of the little Indian. How is this possible?
The big Indian is the Mother
148. I do not breathe, but I run and jump.
I do not eat, but I swim and stretch.
I do not drink, but I sleep and stand.
I do not think, but I grow and play.

I do not see, but you see me every day.

I am a leg
149. You can see nothing else
When you look in my face,
I will look you in the eye
And I will never lie.
Your reflection
150. Blend a teapot shot so the pearlies wont rot!
Toothpaste
151. I blind you, I give you food, I give you light, I give you death, I give you
life, I am always there, I am never there. What am I?
The sun
152. Whilst I was engaged in sitting
I spied the dead carrying the living
Ship
153. Tool of thief, toy of queen.
Always used to be unseen.
Sign of joy, sign of sorrow.
Giving all likeness borrowed.
Mask
154. My first is in wield, sever bones and marrow.
My second is in blade, forged in cold steel.
My third is in arbalest, and also in arrows.
My fourth is in power, plunged through a shield.
My fifth is in honour, and also in vows
My last will put an end to it all.
What am I?
Weapon
155. People are hired to get rid of me.
Im often hiding under your bed.
In time Ill always return you see.
Bite me and youre surely dead.
Dust
156. Always wax, yet always wane: I melt, succumbed to the flame.
Lighting darkness, with fate unblest, I soon devolve to shapeless mess.
Candle

157. Large as a mountain, small as a pea,

Endlessly swimming in a waterless sea.
Asteroids
158. Two words, my answer is only two words.
To keep me, you must give me.
Your word
159. At the sound of me, men may dream
Or stamp their feet
At the sound of me, women may laugh
Or sometimes weep.
Music
160. What has a forest but no trees.
cities but no people and
rivers but no water??
Map
161. I have rivers without water,
Forests without trees,
Mountains without rocks
Towns without houses.
What am I?
A Map
162. When Im metal or wood,
I help you get home.
When Im flesh and Im blood,
In the darkness I roam.
A bat
163. Runs smoother than any rhyme, loves to fall but cannot climb!
Water
164. If you were running a race, and you passed the person in 2nd place, what
place would you be in now?
2nd
165. I am a box that holds keys without locks, yet they can unlock your soul.
What am I?
Piano
166. When you call out my name, I am no longer with you. What am I?
Silence

167. Forward Im heavy

Backwards Im not
ton
168. A horrid monster hides from the day,
With many legs and many eyes.
With silver chains it catches prey,
And eats it all before it dies.
Yet in every cottage does it stay,
And every castle neath the sky.
A spider
169. What can you put in a barrel to make it lighter?
A hole
170. What do you use to hoe a row, slay a foe, and wring with woe?
Hands
171. As destructive as life,
As healing as death;
An institutioner of strife,
Just as prone to bless.
It is all that is good,
Yet with an evil trend;
As it was the beginning of things,
It can also be the end.
Fire
172. Runs over fields and woods all day
Under the bed at night sits not alone,
With long tongue hanging out,
A-waiting for a bone.
A shoe
173. Whoever makes it, tells it not.
Whoever takes it, knows it not.
And whoever knows it wants it not.
Counterfeit money
174. My head bobs lazily in the sun.
You think Im cute,
For my face is yellow,
My hair is white,
and my body is green.

What am I?
Daisy
175. At night they come without being fetched,
And by day they are lost without being stolen.
Stars
176. There is not wind enough to twirl
That one red leaf, nearest of its clan,
Which dances as often as dance it can.
The sun
177. When is a door not a door?
When it is ajar
178. My tines be long,
My tines be short
My tines end ere
My first report.
What am I?
Lightning
179. From house to house I go, sometimes narrow, sometimes wide. And
whether theres rain or snow I always stay outside. What am I?
A Path
180. I went to the woods and got it, when i got it didnt want it, looked for it,
couldnt find it so I took it home.
What is it?
Splinter
181. As light as a feather, but you cant hold it for ten minutes.
Breath
182. My first is not bent around.
My second means lift her up
or cut her to the ground.
Straight Razor
183. Hickory-Dickory-Dock!
The mouse ran up the clock.
The clock struck one
and down did come.
Hickory-Dickory-Dock!
What am I?
A guillotine

184. I am just two and two. I am hot. I am cold.

Im the parent of numbers that cannot be told.
Im a gift beyond measure, a matter of course,
And Im yielded with pleasure- then taken by force.
Kiss
185. I protect your money from robbers and thieves
Three numbers to tell me is all that youll need
If your memory fails you Im useless indeed
Combination lock
186. Something wholly unreal, yet seems real to I
Think my friend, tell me where does it lie?
In the mind
187. I give you a group of three.
One is sitting down, and never will get up.
The second eats as much as is given him,
yet is always hungry.
The third goes away and never returns.
Stove, fire, and smoke
188. My face is always changing, but is always the same.
Moon
189. Alive without breath,
Cold as death,
Never thirsty, always drinking,
All in mail and never clinking.
Fish
190. Armless, legless, I crawl around when Im young.
Then the time of changing sleep will come.
I will awake like a newborn, flying beast,
till then on the remains of the dead I feast.
Maggot
191. If I fly to the moon in a ship an on the way i meet five other ships each
with five crew members who each have five pets. How many in all are flying
to the moon?
One
192. I saw a creature: his stomach stuck out behind him,
enormously swollen. A stalwart servant
waited upon him. What filled up his stomach
had travelled from far, and flew through his eye

He does not always die in giving life

to others, but new strength revives
in the pit of his stomach; he breathes again.
Bellows
193. What does the job of an assassin and treachery of a thug?
Time
194. It is said among my people that some things are improved by death.
Tell me, what stinks while living, but in death, smells good?
Pig
195. This darksome burn, horseback brown,
His rollock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the body falls home.
River
196. What goes in the water red, and comes out black?
Iron
197. A precious stone, as clear as diamond.
Seek it out whilst the suns near the horizon.
Though you can walk on water with its power,
Try to keep it, and itll vanish ere an hour.
Ice
198. With no wings, I fly. With no eyes, I see. With no arms, I climb.
More frightening than any beast, stronger than any foe. I am cunning,
ruthless, and tall; in the end, I rule all.
The imagination
199. Take me and scratch my head.
What once was red,
Is black instead.
What am I?
A Match
200. It cannot be seen, cannot be felt,
Cannot be heard, cannot be smelt.
It lies behind stars and under hills,
And empty holes it fills.
It comes first and follows after,
Ends life, kills laughter.
Dark
Share this:

201.
Half-way up the hill, I see thee at last
Lying beneath me with thy sounds and sights
A city in the twilight, dim and vast,
With smoking roofs, soft bells, and gleaming lights.
The Past
202.
Im pleasing to the eye
A tool for many absent of mind
A tapestry of fickle lies
Blind to even the most pensive spies
Im often the breeder of fervent lust
But I am by far one you shouldnt trust
Appearance
203.
An eye in a blue face
Saw an eye in a green face.
That eye is like to this eye
Said the first eye,
But in low place
Not in high place.
Sun shining on daisies which are growing in a field
204.
All about, but cannot be seen,
Can be captured, cannot be held
No throat, but can be heard.
Sound
205.
What goes through the door without pinching itself?
What sits on the stove without burning itself?
What sits on the table and is not ashamed?
The sun
206.
A red cap on my head,
a stone in my throat,
if you tell me the answer,
Ill give you a Groat.
What am I?
A cherry
207.

What gets wetter and wetter as it dries?

Towel

208.
I have four legs but never walk
I may be covered in flowers but have no soil
I hold food three times a day but never eat a meal
Table
209.
What measures out time,
Until in time

All is smashed to it?

Sand
210.
Ripped from my mothers womb,
Beaten and burned,
I become a blood-thirsty slayer
What am I?
Iron ore
211.
Iron roof, glass walls
Burns and burns
And never falls.
What am I?
A Lantern
212.
I weaken all men for hours each day.
I show you strange visions while you are away.
I take you by night, by day take you back,
None suffer to have me, but do from my lack.
What am I?
Sleep
213.
First you see me in the grass dressed in yellow gay;
next I am in dainty white, then I fly away. What am I?
A Dandelion
214.

The more of these you take, the more appear behind you
Steps

215.
Inside the green house there was a white house
Inside the white house there was a red house.
Inside the red house there were lots of babies.
Watermelon
216.
If you break me, Ill not stop working.
If you can touch me, my work is done.
If you lose me, you must find me with a ring soon after.
What am I?
The heart
217.
Creatures of power, creatures of grace,
Creatures of beauty, creatures of strength.
As for their lives, they set everythings pace,
For all things must come to live under their emerald embrace. . .
Either in their life, or in their death.
What am I?
Tree

218.
I have the same name as a porcelain face,
yet I carry great loads from place to place.
Dolly
219.
It has a long neck,
A name of a bird,
Feeds on cargo of ships,
Its not alive.
Crane
220.
I cut through evil
like a double edged sword,
And chaos flees at my approach.
Balance I single-handedly upraise,
Through battles fought with heart and mind,
Instead of with my gaze.
What am I?
Justice
221.

Always invisible, yet never out of sight. What are they?

The letters I & S

222.
You are trapped in a room made of dry cement, with four walls,
a ceiling, floor, no windows nor doors, holes are scarce, and all you
have is a box of matches.
How do you get out of the room?
Three strikes, and youre out
223.
Placed above it makes greater things small.
Placed beside it makes small things greater.
In matters that counts it always comes first.
Where others increase it keeps all things the same.
What is it?
1
224.
Im by nature solitary, scarred by spear
and wounded by sword, weary of battle.
I frequently see the face of war, and fight
hateful enemies; yet I hold no hope
of help being brought to me in the battle,
before Im eventually done to death.
In the stronghold of the city sharp-edged swords,
skilfully forged in the flame by smiths,
bite deeply into me. I can but await
a more fearsome encounter; it is not for me
to discover in the city any of those doctors
who heal grievous wounds with roots and herbs.
The scars from sword wounds gape wider and wider;

death blows are dealt to me by day and by night.

Shield
225.

What is put on a table, cut, but never eaten?

Cards

226.
As I was going to St Ives,
I met a man with seven wives.
Each wife had seven sacks,
Each sack had seven cats,
Each cat had seven kits;
Kits, cats, sacks and wives
How many were going to St Ives?
One
227.
How can a woman living in New Jersey, legally marry 3 men,
without ever getting a divorce, be widowed, or becoming legally
separated?
Shes a Justice of the Peace
228.
Within, I clean all that is bad and is old.
I make juice thats the colour of gold.
Should I die, a filter machine would you need assembled to replace
me
and beans I resemble.
Kidney
229.
What travels alone but is never alone, has a name but doesnt
exist
A shadow
230.
I turn around once,
What is out will not get in.
I turn around again,
What is in will not get out.
Iceberg
231.
What runs around a city
but never moves?
City Wall
232.
An arm points north, east, south, then west.
Ever in circles, never pausing to rest.
It passes its brother twenty three times,
As the sun passes by and the moon starts to climb.
Clock
233.
It comes only before,
It comes only after,
Rises only in darkness,

But rises only in light.

It is always the same,
But is yet always different.
What am I?
Moon
234.
Name-called And favourite to eat,
Has only two toes on print of feet,
Colours many,
Almost any Country child would have seen one
Chicken
235.
My thunder comes before my lightning.
My lightning comes before my rain.
And my rain dries all the ground it touches.
What am I?
A volcano
236.
There are 3 words in the English language. These three words
all end in -gry. One is hungry, the other is angry. The third is one that
you use every day, if you were paying attention I already gave you
the answer.
The English Language
237.
I am born in fear, raised in truth,
and I come to my own in deed.
When comes a time that Im called forth,
I come to serve the cause of need.
Courage
238.

What can you sit on, sleep on, and brush your teeth with?
A chair, a bed, and a toothbrush.

239.
What happens four times in every week, twice in every month
and once in a year?
The letter E
240.
What is black when you buy it, red when you use it, and grey
when you throw it away?
Charcoal
241.
What makes noise,
stops noise,
and does not like noise?
Your wife
242.
What work is it that the faster you work,
the longer it is before youre done,
and the slower you work,

the sooner youre finished?

Roasting meat on a spit
243.
A beggars brother died, but the man who died had no brother.
How could this be?
The beggar was a woman

The Mosaic and Window Puzzle

In its present form, this puzzle works best in a (pseudo)Christian setting,
but it could easily be adapted to other settings given the appropriate
information.
I ran it to find the lost grave of a saint in a monastery. The patron had
indicated that the grave was in a specific location. Arriving, the party
found a stained glass window at one end of the scriptorium with an
almost identical mosaic at the opposite end:
An innocuous bible reference points to a specific verse, which reads
That which was from the beginning, which we have heard, which we
have seen with our eyes, which we have looked at and our hands have
touchedthis we proclaim concerning the Word of life.

Investigating the mosaic reveals that certain stones can be depressed,

namely some on the ears (heard), eyes (seen), hands (touched)and
lips (proclaim). Pressing all of these together opens up a secret
compartment holding the saints bones.

If you have me, you want to tell me.

If you tell me, you don't have me.
A: Secret
Power enough to smash ships and crush roofs. Yet it still must fear the sun.
What is
it?
Answer: "ice"
Who works when he plays and plays when he works? (two answers)
Answer: "a musician/an athlete"

All about the house, with his lady he dances. Yet he always works, and never
romances. What is he?
Answer: "a broom"
This old one runs forever, but never moves at all. He has not lungs nor
throat, but
still a mighty roaring call. What is it?
Answer: "a waterfall"
Mountains will crumble to it and temples fall, and no man can survive its
endless
call. What is it?
Answer: "time"
I was carried into a dark room, and set on fire. I wept, and then my head
was cut off.
What am I?
Answer: "a candle"
A very pretty thing am I, fluttering in the pale-blue sky. Delicate, fragile on
the
wing, indeed I am a pretty thing.
Answer: "a butterfly"
In spring I am gay in handsome array; in summer more clothing I wear;
when colder it
grows I fling off my clothes; and in winter quite naked appear.
Answer: "a tree"
To cross the water I'm the way, for water I'm above. I touch it not and, truth
to say, I
neither swim nor move.
Answer: "a bridge"
Violet, indigo, blue and green, yellow, orange and red; these are the colors
you have
seen after the storm has fled.
Answer: "a rainbow"

What is it that leaps and runs and has no feet?

Answer: "a ball"
Two little holes in the side of a hill just as you come to the cherry-red mill.
What
are they?
Answer: "nose & mouth"
A father's child, a mother's child, yet no one's son.
Answer: "girl or daughter"
What goes up, but at THE SAME TIME goes down? Up toward the sky, and
down
toward the ground. It's present tense and past tense too, come for a ride,
just me and
you!!!
Answer: "a see-saw"
What has black spots and a white face, is fat not thin, and helps you to win,
but
tumbles all over the place?
Answer: "a dice"
I have no voice and yet I speak to you, I tell of all things in the world that
people do.
I have leaves, but I am not a tree, I have pages, but I am not a bride or
royalty. I have
a spine and hinges, but I am not a man or a door, I have told you all, I
cannot tell you
more.
Answer: "a book"
An openended barrel, it is shaped like a hive. It is filled with the flesh, and
the flesh
is alive!
Answer: "a thimble"
What lies in bed, and stands in bed?/First white then red/The plumper it gets
the

better the old woman like it?

Answer: "a strawberry"
What is the difference between a Grandmother and a granary?
Answer: "one is one's born kin, the other is one's corn bin (a riddle based on
phonetic
coincidence)"
What can run but never walks, has a mouth but never talks, has a bed but
never
sleeps, has a head but never weeps?
Answer: "a river"
Where can you find roads without cars, forests without trees and cities
without
houses?
Answer: "on a map"
This thing runs but cannot walk, sometimes sings but never talks. Lacks
arms, has
hands; lacks a head but has a face. What is it?
Answer: "a clock"
There is an ancient invention still used in some parts of the world today that
allows
people to see through walls. What is it?
Answer: "a window"
Round as an apple, deep as a cup, and all the kings horses can't fill it up.
What is it?
Answer: "a well"
What can bring back the dead; make us cry, make us laugh, make us young;
born in an
instant yet lasts a life time. What is it?
Answer: "a memory"
Alive without breath, as cold as death; never thristy, ever drinking, all in
mail, never
clinking. What am I?

Answer: "a fish"

What has roots as nobody sees, is taller than trees. Up, up it goes, and yet
never
grows. What is it?
Answer: "a mountain"
Crooked as a rainbow, slick as a plate; ten thousand horses can't pull it
straight.
What is it?
Answer: "a river"
Long slim and slender, dark as homemade thunder, keen eyes and peaked
nose, scares
the Devil wherever it goes. What is it?
Answer: "a snake"
You use it between your head and your toes, the more it works the thinner it
grows.
What is it?
Answer: "a bar of soap"
What is put on a table, cut, but never eaten?
Answer: "a deck of cards"
What is the difference between a rotten husband and a rotten shot?
Answer: "one hits his missus, and the other misses his hits."
What is the difference between a school boy studying and a farmer watching
his
cattle?
Answer: "one is stocking his mind, and the other is minding his stock."
I've hole through which fingers peep, I clash my teeth, but do not weep.
What am I?
Answer: "scissors"
What stays where it is when it goes off?
Answer: "a gun"
What flies forever, rests never?

Answer: "wind"
You can hear me. You can see what I do. Me, you cannot see. What am I?
Answer: "wind"
What lives on it's own substance, but dies as soon as it devours itself?
Answer: "a candle"
What goes through a door but never goes in and never comes out?
Answer: "a keyhole"
What has feet and legs and nothing else?
Answer: "stockings"
A house full, a yard full, a chimney full; No one can get a spoonful. What is
it?
Answer: "smoke"
What is full of holes but holds water?
Answer: "a sponge"
What is always coming, but never arrives?
Answer: "tomorrow"
What goes further the slower it goes?
Answer: "money"
You throw away the outside and cook the inside. Then you eat the outside
and throw
away the inside. What did you eat?
Answer: "an ear of corn"
What can bring back the dead, make us cry, make us laugh, make us young;
is born in
an instant yet lasts a lifetime?
Answer: "a memory"
I move very slowly at an imperceptible rate, although I take my time, I am
never late.
I accompany life, and survive past demise, I am viewed with esteem in
many women's

eyes. What am I?
Answer: "hair (or nails)"
I am the heart that does not beat. If cut, I bleed without blood. I can fly, but
have
no wings. I can float, but have no fins. I can sing, but have no mouth. What
am I?
Answer: "wood"
Voiceless it cries, wingless flutters, toothless bite, mouthless mutters.
Answer: "wind"
I have legs but walk not, a strong back but work not, two good arms but
reach not, a
seat but sit and tarry not. What am I?
Answer: "a chair"
Shoot at me a thousand times and I may still survive; one scratch from me
and you
will find your prospects take a dive. What am I?
Answer: "an eight ball"
I have an eye, but I can not see and I am guided only by the winds. I am
strong and
disasterous but in the center of me, I am calm. I live for a while but I die
soon
enough, and when you least expect it I am reborn. What am I?
Answer: "a hurricane"
Black I am and much admired, men seek me until they're tired. When they
find me,
they break my head, and take from me my resting bed. What am I?
Answer: "coal"
At the North Pole it is impossible to look north, and at the South Pole it is
impossible to look south. Then, where in the world would you be if you could
look
north and south, but could not look east or west?
Answer: "the core of the Earth"

In birth I spring forth, in life I unfold. In death I wilt and die, but rebirth
restores
all. What am I?
Answer: "a leaf"
At night I come without being fetched. By day I am lost without being stolen.
What
am I?
Answer: "a star"
A hole leading in, a hole leading out, we connect to a cavern that is slimey
all
throughout. What are we?
Answer: "nostrils"
Part carbon, part water, I am poison to the fishes. Many have falsely claimed
my
name, for I am the pause that refreshes.
Answer: "soda pop"
What is it that has four legs, one head and a foot?
Answer: "a bed"
Weight in my belly, trees on my back, nails in my ribs, but feet I do lack.
What am I?
Answer: "a boat"
Double my number, I'm less than a score, half of my number is less than
four. Add
one to my double when bakers are near, days of the week are still greater, I
fear.
Answer: "SIX"
I'm named after nothing, though I'm awfully clamorous. And when I'm not
working,
your house is less glamorous. What am I?
Answer: "a vacuum cleaner"
You hear me calling to you, beckoning with my shrill voice; My keys will carry
you to

the place of your choice. What am I?

Answer: "a telephone"
I am the tool, for inspiring many. Buy me in the store, for not much more
than a
penny. Don't overuse me, or my usefulness will go, what am I? Do you
know?
Answer: "a pen"
Swirling, sparkling, shining bright. You can see it in the dead of night. What
is it?
Answer: "the Milky Way"
I have joy in bringing two together, but darning my existance! My life hangs
by a
thread, filled with ups, downs and resistance!
Answer: "a sewing machine"
I love to dance and twist and prance, I shake my tail, as away I sail, wingless
I fly into
the sky. What am I ?
Answer: "a kite"
My teeth are sharp, my back is straight, to cut things up it is my fate. What
am I?
Answer: "a saw"
My first is in chocolate but not in ham, my second's in cake and also in jam,
my third
at tea-time is easily found, my whole is a friend who's often around. What
am I?
Answer: "a cat"
My first is in window but not in pane, my second's in road but not in lane,
my third
is in oval but not in round, my fourth is in hearing but not in sound, my
whole is
known as a sign of peace, and from noah's ark won quick release.
Answer: "a dove"

What ship has no captain but two mates?

Answer: "courtship"
What is the difference between a big hill and a big pill?
Answer: "one is hard to get up and the other hard to get down."
1. Born at the same time as the world, destined to live as long as the world,
and yet
never five weeks old. What is it? A- The Moon.
2. It wasn't my sister, nor my brother, but still was the child of my father and
mother. Who was it? A- Me.
3. The more you take the more you leave behind. A- Footsteps.
4. What can run but never walks,
has a mouth but never talks,
has a head but never weeps,
has a bed but never sleeps? A- A river.
5. You use a knife to slice my head and weep beside me when I am dead. AAn
onion.
6. Pronounced as one letter,
And written with three,
Two letters there are,
And two only in me.
Im double, Im single,
Im black blue and grey,
Im read from both ends,
And the same either way. A- Eye.
7. You can feel me but not touch me, you can see me but not look at me, I
am small
but you could never lift me. What am I? A-Sun.
8. Forward I am heavy, but backward I am not. What am I? A- A ton.
9. What can be swallowed but can also swallow you? A-Water.

10. How much dirt is in a hole 4 feet deep and 2 feet wide? A- There is no
dirt in a
hole.
11. 30 men with two ladies
gathered as for festivities
dressed quite formally, black and white
yet movement turns to nasty fight.
What is being described? A- A chess match.
12. Michaels parents have four children. Their names are Copper, Silver,
and Gold.
What is the fourth childs name? A- Michael.
13. What has 6 legs, but walks with only 4? A- A horse with a rider.
14. Round as a cup, flat as a board, pale as gold, altar of the lupine lords. AThe
moon.
15. What passes in front of the sun without a shadow? A- The wind

Pendulum Puzzle
The Pendulum Puzzle is a simple ordering challenge backed up by a neat
rhyme. Ready to be inserted into pretty much any dungeon or setting.
You step into a chamber dominated by a massive statue of a robed
humanoid. It stands ten feet in the air, the folds of its hood casting its face
in dark shadow. Grasped in the statues left hand is a scythe, its razor sharp
blade carved out of black stone. The statues right arm is raised out in front
of it, holding in its clutches the end of a metal chain. This chain stretches to
the floor, suspending a wicked blade inches over a circular indentation,
roughly eight feet wide. This circle is hewn two inches into the stone, and is
decorated with lettering spiraling towards its center. The script is fine and
spidery, and glows with a faint red tinge. Twelve candles mark the edge of
the circle, standing at regular intervals. All are lit, their wicks slowly burning
and casting flickering shadows over the chamber. On closer examination,
you find that you can read the spidery text.
The statue before you
Holds chain that was made
For keeping the time
With its pendulum blade

The mid hour of night

Is farthest away
From where the eyes of the statue
In its head lay
Hours of daytime
And hours of night
Here are the same
I shall shed that light
Each hour is named
After person or thing
Your job is to find me
I am not hiding
With the silence of grave
A death come too soon
The master of Shadow
Stands thirteen past noon
Past him stands the Gypsy
And somewhere between, a valiant sight
A Knight of the realm
And a Dragon who fight
Merchant, a trader
His wares beside him in Wagon
Crouches as far away as he can
From the infamous Dragon
The mystical Gypsy
With her tarot cards
Steadies his wares
Lest they crash into shards
The beast of red scale
And long crimson tongue
Is caught right between Knights blade
And the shadowy one
Across from the Castle
Stands the Giant of rock
The Hydra of nightmares
Stands across from the Hawk
The Hawk is majestic
With feathers of red
Perched next to Gypsy
Who keeps it well fed

The Peasant sleeps poorly

He tosses and screams
For his is the hour
Of ghosts in his dreams
My place is not tricky
Find where I lie
I stand where not mentioned
Which hour am I?

Hour Marks: Holding the pendulum blade over any of the candles (which
serve as hour markers), causes that candle to flare up, signifying a possible
answer. If the pendulum is then released the answer is assumed to be
given.
Answer: Nine oclock. This might open a door, reveal treasure, etc. Should
a player answer incorrectly, the pendulum swings, the candles flare up in a
bright inferno, and the text swirls and seethes. Then something terrible is
summoned to make them regret it.

Additional Ideas (1)

Instead of summoning something when failing, it could trigger a number of
traps (the floor falling away, and a pit opening up; a number of
arrows/spears being fired into the room; or even spikes coming out of the
floor).

Painted Minotaur Room

Painted walls and a shadowy figure ... how can these insubstantial elements
open that all-too-solid door? A locked-room puzzle with multiple solutions!
The walls of this room are covered with paintings depicting pairs of standing
minotaurs, approximately nine feet high, facing each other. One of the
minotaurs is painted over a locked door, with a keyhole in its torso. The
minotaur directly across from it has a small key, about two inches long,
painted on its torso roughly in the location of the heart. Standing motionless
in the center of the room is the shadowy form of an actual, insubstantial
minotaur. A shadowy key floats inside the minotaur right where its heart
would be.
Touching the insubstantial minotaur will cause it to solidify as a stone statue

and attack. Touching the painted minotaur with the key will have the same
effect. The first touch will activate it for one round, the second for two, and
every touch thereafter for three rounds of combat. Weapons cannot
damage it, but can be used to turn it aside to prevent damage to others. It
will attack with blind fury and is incapable of speech, but it cannot pass the
doors of the room. If all persons leave the room at any time, the room will
"reset" to its original configuration.
At the end of its turn on the last round of activation, the stone minotaur will
freeze in whatever position it was in and return to insubstantiality. The
painted minotaur with the key will also change its stance and position to
match that of the shadow-minotaur.
Solution 1: Touching just the painted key will cause the insubstantial key
to solidify and drop to the floor. However, PCs must be careful to take the
solid key without touching the shadow-minotaur's feet!
Solution 2: If the painted minotaur with the key is maneuvered around the
room so that it crosses the painted minotaur with the lock, the door will
unlock.
Solution 3: The stone minotaur can be maneuvered to crash into the door
and break it down.
Solution 4: Use the shadow of a hand to take the shadow-key out of the
insubstantial minotaur without activating the statue. The shadow-key must
then be solidified by touching it with something substantial, or by touching
the painted key.

Additional Ideas (1)

I played this with a group of inexperience players and we loved it! I made
some small changes. Here's what we came up with;
The PCs are stuck in a room (teleported in, woke up there, went through a
one-way door, whatever). This room only has one apparent door and it's
magically locked. Two walls of this room opposite each other are painted
depicting a standing minotaur, each approximately nine feet high, facing
one another. One of the minotaurs is painted over a locked door, with a
keyhole in the middle of its forehead (about 9 feet up). The minotaur directly
across from it has a small key, about two inches long, painted on its
forehead. Standing motionless in the center of the room is the shadowy
form of an actual, insubstantial minotaur, also 9 feet tall. A shadowy key
floats inside the minotaur's head.

Touching the insubstantial minotaur will cause it to solidify into a golem of

whatever touched it. Poke it with a wooden pole and it becomes a solid
wood golem. Try to knock down the key with an iron sword and it becomes a
solid iron golem. A bare hand creates a flesh golem. The first touch activates
the golem for 1 minute, the second for 2 minutes, the third for 3, etc. If all
persons leave the room at any time, the room will "reset" to its original
configuration.
At the end of its turn on the last round of activation, the minotaur golem will
freeze in whatever position it was in and return to insubstantiality. The
painted minotaur with the key will also change its stance and position to
match that of the shadow-minotaur.
How to unlock the door?
Solution 1: Touching just the painted key will cause the insubstantial key to
solidify (into whatever material touched it, just like the minotaur golem) and
drop to the floor (hopefully between the minotaur's feet). However, PCs
must be careful to take the solid key without touching the shadowminotaur's feet! The timing rules of the golem apply to the key as well. One
minute per touch. At the end of this time, it returns to the minotaur golem's
head.
Solution 2: If the painted minotaur with the key is maneuvered around the
room so that the painted key crosses the painted lock, the door will unlock.
Solution 3: Use magic to get the key (shadow of a hand to take the shadowkey out of the insubstantial minotaur without activating the statue). The
shadow-key must then be solidified by touching it with something
substantial, or by touching the painted key.
Alternative Solutions:
Dispel Magic on the lock and have a rogue pick it. May have to stand on the
fighter's shoulders to get that high.
Teleport/Gate/Dimension Door out.
Brute strength; bash the door down. DC:15 200hp

Chapel Pipe Organ

A tricky-ish puzzle that will work for both low and high level players.
I used the Pipe Organ puzzle as part of a quest where the players had to
investigate a cult temple located in a series of sunken caverns. After
making it through most of the cult living space (dorms, dining hall, etc...) the
players come upon a high-ceilinged underground chapel. Rows of pews on

each side of the rectangular room, 15ft. tall pulpit at the front of the room.
There is no apparent exit from the room except for the door through which
the players entered.

The centerpiece of the chapel is a dusty old pipe organ with 50-100 pipes
stretching up to the ceiling. Nestled in the center of the pipes, about 5 feet
above the dual keyboards, is a stone statue of a winged beast (I used the
image of a winged minotaur, because that was the avatar of the cult's demigod).

There is a secret door on the wall behind and to the right of the organ, but
the players have to play two specific chords on the organ to release the
locking mechanism and open the door. If the players play any other keys,
other than the designated chords, the stone statue (revealed eventually to
be a supped up gargoyle) springs to life and tries to chew their faces off.

The only way to detect the proper keys is with a detect magic spell (I used
this one to encourage our mage to cast detect magic more, as they were
running in to all sorts of nasty magic traps w/out checking first). Once cast,
the proper keys give off a faint conjuration aura (pressing them causes a
missing gear in the door assembly to appear).

This one is also fun because if they fight the gargoyle, which the probably
will end up doing, there's all kinds of cover to be had in the form of pews,
pulpits, etc...

Variation: If players are having trouble figuring out what to do, you can place
a music box on the corpse of the slain gargoyle that plays the two distinct
chords. Playing them requires a performance skill check though.

Wizards Challenge
Summary
Background
The eccentric wizard Xarn is a recluse. Almost comically dress in clashing
reds and purples. His most notable feature is in fact a lack of one. His hand,
missing from some terrible accident, is still a living visible stump. His Tower

is visible from town. And his rare visitations to town always cause quite a
stir. The rumors have it, that he is tinkering with the fabric of life. Others say
his is looking for his lost hand. Others say his is ripping through the fabric of
Reality. Most figure that hes stark raving mad, others suspect incredible
genius. A month ago he walked into Luckys tavern, and bewitched the innkeeper, Lucky, to tell all new-comers of the challenge Xarn issued.
The Challenge:
"Those who dare, and have the prowess may enter my Tower unmolested.
Or, for those whose curiosity might just kill them, for I will tell you the truth
of my stump. Enter with only a word of Truth. After, you will face a series of
Challenges. In my years and travels I have amassed great treasures which I
am willing to share with those proven to be worthy individuals. These will
test your faculties so the weak need not apply. Once begun your acceptance
is binding, for there is no way out save for success. Good Luck."
Room One: Entrance and Guardian
Shaft of Light
To approach the dark foreboding tower you must enter a twisted forest, filled
with a clinging mist and unusual noises. A feeling of being not right
overcomes you. Every time you glimpse something you look again, to see if
youre seeing right. your mind questions, Did that Bird have two heads? Did
that squirrel have spiders eyes? Did that Fox have bee markings? Did you
hear Humming from that tree? There is an almost understandable muttering
surrounding you. You feel eyes staring at you. The players fear builds as
they walk. About in, they most conquer that fear or risk running away.
(Mind-effecting, easy)
Background: This forest was planted from modified seed; the plants radiate
an aura of fear. It resonates with humanoids. The creatures, in the woods
are early moderately successful experiments that are primarily harmless.
Their oddity only reinforces the weird feelings already radiating from the
plants.
When you finally exit the forest near the base of the tower, you stand in
front of large thick wooden door. A mouth forms in the door and booms. "Tell
me, what it is you truly desire, and you shall enter and your challenge will
begin." (this is a great way for characters to share history, and plot hooks
for their characters)
Theres a chance an observant character will see that the tower has no
mortar and the stone seems to almost Breathe.
If answered truthfully a hole the shape of the character will materialize,
closing after they pass. This is done with each party member. PCs on both of
sides of the door can hear the answer. When all are present the door booms,
Now the challenge begins. The room they stand in is plain cut stone and
round with thin windows allowing some light in. An ornate circular rug from a
far off land is the only decoration. A bright beam of purple light shines down
a center hole in the ceiling. At the top of the shaft is what you seek. Your
success depends on how this problem is - resolved
The party must get to the top to reach the next room up the shaft. This can

be achieved in any manner that works. It should be set up 2 steps back for
every 3 steps forward. The harder the group pushes and works together to
succeed, the easier it will be.
General Note: the stones that make up the shaft walls are alive and they
serve Xarn. They are hive-minded creatures (like ants) and work as one
entity to change the tower itself to his needs. They will shift as needed to
make the climbing harder or easier. They were developed with an oil like
defense which works in two ways. Oil is be secreted to make them slippery,
resisting willing relocation. The same oil can be forced out violently, much
like a skunk used when being attacked. This oil when atomized, and
breathed causes nausea. These can also become easier to grip, by roughing
its feathers They have even been know to move in and out like a snail.
Room Two: Puzzle or Roleplaying Challenge
The Choice
Once at the top of the hole. An image materializes. "Congratulations. Not in
succeeding, but in passing the initial challenge. Behind you is a door for
each of you. Beyond those doors is your next challenge. Its simple enough.
All you need to do is Choose."
Each PC encounters nearly the same thing. When they grab the handle to
open the door, they are pricked with a needle.
When the door opens, an unpleasant odor hits as the character enters. In
this small bare room a loved one is bound and tied to a wall. Next to the
opposite wall, out of reach of the loved one is a table with a flask holding a
yellow translucent liquid, and a note. The loved one looks very ill. Bloody
vomit is seen in one corner.
The Note Reads:
My challenge I offered, you took,
and so you shall be challenged and shook.
Disease afflicts your loved one. This potion is the cure.
You have been infected upon entering. So, your choice it should be sure.
Fibers of character are sure to show.
So drink it up, or pass the swallow?
Make a choice and make it quick. Your time is as a standard wick
Will you win or will you lose, Leave the room when you chose.
Background: The loved ones in truth, are normal tower denizens bewitched
to look, talk and act like the PCs loved ones. (almost literally reacting to how
the player pictures their loved ones would in their mind) the denizens are
really infected, and told that they will only be cured if they succeed in
fooling the PCs.
This is a very strong enchantment and incredibly hard to see through.
Once they choose who, if anyone drinks, the challenge is over.
Room Three: Trick or Setback
A-maze-ing
When the PCs enter the round room again, they see an archway and a
hallway beyond.

The disembodied voice of Xarn speaks, "At the end of this hallway is the
ladder up. There you will find what you seek." Past the archway is a long
hallway. (Impossibly long for the towers size) The 10 high hallway has no
ceiling. A ladder leads up the ceiling of this cavernous room. The top 3 of
the walls are made the living bricks. (They attempt to stop anyone trying to
climb on the walls. Or fly out.)
About halfway between the archway and the ladder, the environment
changes before the PCs eyes. Either side hallways appear, or walls do, or
disappear. In essence a second maze phases in, while the current one
phases out. This change stays for a number of minutes and switches to yet
another one, and to a fourth and back to the first. Then it cycles through
them repeatedly. Some of the walls are living brick and can move, the walls
move at 60 per appearance cycle. (Thanks Treasure Tables for the idea!)
They phase in for one of the 4 cycles. (DM note: make four(4) identically
sized mazes. Have a ladder near the center in the same spot for all. Do
whatever you want with them, put a letter-number grid so when you switch,
you know where they are)
To make matters worse for the PCs there are numerous half-breed minotaurs
(experiments) who have been given a home here. They love this maze as it
gives them something to do and purpose in life. They are constantly looking
for what changes. There are a few cleaning oozes. All the players need to do
is get to the ladder, which everyone can see from anywhere in the Maze.
If a party member Phases (example: blink spell), they see all 4 mazes at
once and are probably going to wind up trapped, except they can walk
through the current real walls, with normal dangers.
Special Notes:
-The ladder has an anti-magic field emanating from it. (approximately 10)
-Remember the PC who gave the disease cure potion to the loved ones will
start being effected by the disease-most likely in this room.
Room Four: Climax, Big Battle or Conflict
Allow myself to introduce myself
Environment effects: The anti-magic from the ladder suppresses all magic
light. Until the hatch is closed the breeze is strong enough to put out lantern
(50% for hooded lanterns) when the group arrives it should be dark. When
they close the heavy hatch any magic light will no longer be suppressed.
Theyve now enter a maze-like Hall of Mirrors.
"Its finally time to take a GOOD look at yourself. Oh, adn there is a door
here somewhere Bwahahahahaaa" Booms the wizards familiar voice.
As the hatch slams shut and torches and lights are re-lit, the party will find
themselves in a standard hall of mirror. Only one of each party members
multitude of reflections is an evil-half. They are really malicious spirit
trapped in the mirror. The only way for them to escape is to take someone
in. These reflections are exact copies of the PCs, except without the
disease.
As one might expect, the reflections will try and confuse the PCs as to who
to help attack. (The spirits can sense each other.) In a Hall of weirdly angled

mirrors, It is very difficult to detect, enemy. The party must first decide who
is real or false. The spirits have no such difficulty. The spirits also read
surface thoughts and will use them against the party.
If the PCs survive, one of the mirrors will have a hard to find handle
Through this door is what they set on this challenge for.
Room Five: Reward, Revelation
Xarn awaits the PCs with his goblin assistant Rumi. Xarn is a slight man
dressed in Red flowing Wizard robes, with purple trim. He has a similarly
appointed hat. And smaller square spectacles. His crows feet wrinkles
disappear into shoulder length salt and pepper hair.
He and his assistant stand behind a low pedestal with a large mirror
mounted on top. They are grinning widely when they enter.
In a wispery voice, He greets everyone, "Welcome brave souls. You have
passed the challenge I have put before you. And I am proud of you all. You
have spoken your desires, and I know why you are here. I have also watched
your actions, and they too speak of your wishes."
"Before I answer any questions, we will get to the heart of it. I shall put a
last choice before you individually."
Xarn will then address each PC and re-cap their choices and actions, and
their stated desires. He will present them each with two items. Each will aid
in one of the two paths, Desire vs. Deed. For those that are afflicted with the
disease, he also offers them the cure. If they choose the potion, after
everyone has made their choice, he will offer them to pick between the
remaining to items and accuse the PC of thinking him a cruel heartless man.
The Goblin-Gumi will always mimic the expressions Xarn has, and will agree
with his master.
If asked, Xarn will explain that the challenge was to find suitable characters
to venture forth to reclaim his hand. When asked, he explains that his hand
was lost during an unfortunately desperate situation involving casting a
Djinni bottle into a Bag of Holding. This caused a dimensional rift to rip
open, fold back on itself, and capture his hand before repairing itself. His
hand is alive and technically attached. It is floating in-where he thinks-is the
realm of forgotten creatures. He asks the party if they wish to travel with
him to this dimension, and assist him. Otherwise the challenge is over and
the PCs can return to town unmolested.
I cover cities and destory mountains,
I make men blind, yet help them see.

Answer: Sand

What walks with four legs in the morning,

two legs in the afternoon,

and three legs in the evening?

Answer: Man

What is itThat we love more than life,

Fear more than death,
The rich want it,
The poor have it,
The miser spends it,
And the spend-rift saves it?

Answer: Nothing

Of no use to one
Yet absolute bliss to two.
The small boy gets it for nothing.
The young man has to lie for it.
The old man has to buy it.
Answer: A Kiss

What runs around a city

but never moves?

Answer: A Wall

Iron roof, glass walls

Burns and burns

And never falls.

Answer: A Lantern

It holds most knowledge that has ever been said;

But is not the brain, is not the head.
To feathers and their masters, 'tis both bane and boon. . .
One empty, and one full.

Answer:Paper

I have rivers without water,

Forests without trees,
Mountains without rocks
Towns without houses.
Answer: A Map

Ten Men's Strength,

Ten Men's Length,
Ten Men can't break it,
Yet a young boy walks off with it
Answer: A rope

I begin eternity,
And end space,
At the end of time,
And in every place,

Last in life,
Second to death,
Never alone,
Found in your breath,
Contained by earth,
Water or flame,
My grandeur so awesome,
Wind dare not tame,
Not in your mind,
Am in your dreams,
Vacant to Kings,
Present to Queens.
Answer: The letter "E"

I have many tongues but cannot taste

By me, most things are turned to waste
I crack and snap, yet I stay whole
I may take the largest toll
I assisted all of the first men
And I will pay them back again
Around me, people snuggle and sleep
Yet run when I am released from my keep
I jump around and leap and bound
The cold man wishes I he had found
Answer: Fire

I run through hills;

I veer around mountains.

I leap over rivers

and crawl through the forests.
Step out your door to find me.
Answer:The road

Stronger than steel,

And older than time;
They are more patient than death
and shall stand even when the stars have ceased to shine.
Their strength is embedded
in roots buried deep
Where the sands and frosts of ages
can never hope to touch or reach.
Answer:Mountains

Two bodies have I,

though both joined in one.
The more still I stand,
the quicker I run.
Answer: An hourglass

You get many of me, but never enough.

After the last one, your life soon will snuff.
You may have one of me but one day a year,
When the last one is gone, your life disappears.

Answer: A birthday.

Double my number, I'm less than a score,

Half of my number is less than four.
Add one to my double when bakers are near,
Days of the week are still greater, I fear.
Answer: Six

I weaken all men for hours each day.

I show you strange visions while you are away.
I take you by night, by day take you back,
None suffer to have me, but do from my lack.
Answer: Sleep

What kind of ear cannot hear?

Answer: An ear of corn

They have not flesh, nor feathers,

Nor scales, nor bone.
Yet they have fingers and thumbs,
Of their own.
Answer: Gloves

He who makes me doesn't want me,

He who buys me doesn't need me,
He who uses me doesn't care.
Answer: A casket.

Two brothers we are, great burden we bear

By which we are bitterly pressed.

In truth we may say

We are full all the day
But empty we go to our rest.
Answer: Shoes

A box without hinges, key, or lid,

Yet golden treasure inside is hid.
Answer: Egg

You must keep it after giving it.

Answer: Your word