The Structure of House Phiarlan (Patreon)

For all intents and purposes, House Phiarlan is the Entertainers and Artisans Guild. At lower levels, administrators and agents are dedicated to one side or the other, but the Lords Seneschal guide both House and Guild and every Phiarlan enclave holds an office of the EAG. Of course, few Phiarlan heirs dream of administration; most yearn to entertain. Phiarlan heirs are exposed to the arts as soon as they are capable of comprehension, and rigorously tested throughout childhood. As they grow older they're guided down paths that focus on their particular talents, ultimately leading to a course of education at one of the Five Demesnes. Young elves mature physically and mentally at the same rate as humans, and an elf can master an instrument as quickly as a human can. However, Phiarlan heirs usually spend a few decades on their education. In addition to learning their particular craft, heirs study the history and scope of that field. A writer reads classic literature from every culture the House has encountered. A dancer learns Aereni ballet and Tairnadal blade dances, but they also study Lhazaar jigs, Mror line dancing, and the Cyran Tago. Even if the dancer only intends to practice modern dance, they are familiar with the full spectrum of their chosen discipline; a DM should give a Phiarlan advantage on Intelligence (History) checks tied directly to their field of art. It’s worth noting that while the Five Demesnes focus on specific disciplines, each can provide basic training in core skills. The Demesne of Shadow specializes in the use of illusion as a form of entertainment, but every Demesne has courses that teach Dragonmarked heirs to use the gifts of the Mark to enhance their performances. An heir continues their schooling until they choose to be tested and licensed by the Entertainers and Artisans Guild. At that point, it’s up to the heir whether they wish to join one of the companies of the Guild, or if they wish to pursue a career as an independent licensed artist. Given all of this, one might wonder how to handle a Phiarlan player character who simply has no artistic proficiencies. As suggested earlier, it's easy to interpret other skills as having artistic applications, such as Acrobatics or Deception. But what if they truly have nothing to work with? One option is to say that the character has a remarkable lack of talent; they tried countless paths and nothing took. Another option is to say that the character IS proficient with an instrument—it's just that while they are technically perfect, their performance lacks soul, and as a result they don't receive the proficiency bonus. They know HOW to play the Thurimbar, but it's just rarely compelling—though given the swingy nature of the d20, they could always get a remarkable roll!

Phiarlan Enclaves. Phiarlan enclaves and outposts are generally tied to theaters, showcasing the talents of resident and visiting heirs. House Phiarlan has strong ties with House Ghallanda, and in communities with no Phiarlan outpost an heir will work out of the largest Ghallanda inn. A traveling Phiarlan can usually put on a performance in exchange for room and board, while one who lives in the community will use the common room of the inn to conduct business, booking private gigs or performances; this is also an excellent way to keep up with local news and stories. So when there’s no Phiarlan theater, people know to look for the elves at Ghallanda. Most Phiarlan enclaves hold members of every bloodline, but each of the major families has its own dedicated enclave where the elders reside.

The greatest enclaves of House Phiarlan are the Five Demesnes. The foundations of the Demesnes are older than Galifar, and they are both fortresses of the House and academies that train heirs and outsiders in the arts. The elves divide the arts into five categories, and each of the Demesnes is devoted to a particular branch. 

Memory is the art of the written word—prose, poetry, and propaganda. Students of Memory learn the power of story and well-placed facts, and the archives of the Demesne of Memory hold the greatest works of Phiarlan storytellers alongside historical records dating back to the last days of the uprising on Xen’drik. House Phiarlan works closely with the Notaries Guild of House Sivis; Phiarlan authors and poets create content, but it’s the Binding of House Sivis that produces and sells books. Most of the beloved authors and poets of Galifar studied at the Demesne of Memory, and nobles and politicians alike rely on speechwriters trained at the Demesne. With its focus on the power and shape of stories, the Demesne of Memory also has a branch that focuses on the Fey—both cataloguing known Fey and understanding their nature and how to deal with them. The Demesne of Memory is based in the city of Fairhaven in Aundair. Viceroy Dulaen Elorrenthi d’Phiarlan is the Lord Seneschal of Aundair and the Master of Memory; he is a powerful bard and brilliant poet who can evoke strong emotions with a few perfect words. Master Dulaen is stern and speaks no more than is necessary, but he gives powerful speeches on festival days. Lady Shael Tialaen d’Phiarlan is the Demesne’s Fey specialist, and is sometimes consulted by nobles seeking to establish a pact or by communities who have offended local spirits. Traditionally, it’s the position of the Demesne that Greensingers are amateurs with no real understanding of the Fey they associate with; but Lady Shael has befriended a number of Greensingers and could connect adventurers with a guide if they’re heading for the Towering Wood. The College of Lore Bard is an excellent option for an adventurer who studied at the Demesne of Memory, although this is also a good place to become an Archfey Warlock! 

Motion is the art of the body, from dance and gymnastics to martial arts and massage. While the primary focus of the Demesne is on the use of these arts to delight and entertain, the enclave includes an arena where students of the martial arts compete with one another; these matches are popular sporting events in Wroat. The Demesne of Motion is located in Wroat, and it is the oldest Phiarlan enclave; after it was razed by Breggor Firstking, it was raised again in the same location. Viceroy Surael Shol d’Phiarlan is Master of Motion and Lord Seneschal of Breland; she is the current keeper of Elorrenthi’s Blinding Dance and versed in many martial arts. The Demesne of Motion is an excellent origin for a College of Dance Bard or an Open Hand Monk. It also teaches Phiarlan heirs a martial art that draws directly on the power of Mark of Shadow, which is best represented by the Warrior of Shadows Monk; those who show promise with this path are often recruited by the Serpentine Table.     

Music is the art of sound, encompassing both song and the use of instruments. It typically has the largest student body of the Five Demesnes and is the school that accepts the largest number of non-Phiarlan students. With that said, there are strict admission exams; a prospective student must display significant talent to earn a space at the Demesne of Music. The Demesne has always had a path for the battlefield musician; traditionally this has been a small branch of study, but over the course of the last century it’s gained importance. There’s also a path for sacred music, driven by the fact that the Demesne of Music is located in Flamekeep in Thrane. Viceroy Kels Tialaen d’Phiarlan is Master of Music and Lord Seneschal of Thrane. A former paragon who’s retired from performing, Kels is a vibrant personality who lifts spirits wherever he goes. While he is not a true believer in the Silver Flame, he adores its ceremonies and often sings with the Flamekeep choir. His greatest hit was “The Setting Sun”, which he first performed at the funeral of Queen Hala ir’Wynarn. The funeral was centuries ago, but people are still humming the tune, and it’s been adapted countless times. 

Shape involves the creation of physical objects. Painting, sculpting, pottery, weaving and other forms of physical art are all taught here. The Demesne of Shape has also emerged as the center for learning stage management, production design, and other practical aspects of theatrical work. The first Demesne of Shape was located in the city of Atur in Karrnath, and many of its instructors were Thuranni. As part of the resolution of the Shadow Schism, the newborn House Thuranni laid claim to this enclave, renaming it the Demesne of the True Shapers. House Phiarlan has reestablished the Demesne of Shape in the city of Thaliost in Thrane, under the leadership of Viceroy Idal Tialaen d’Phiarlan. Common wisdom is that the True Shapers are the superior facility for studying in this discipline. On the other hand, the Serpentine Table is happy to have a Phiarlan stronghold in the contested city of Thaliost; both Aundair and Thrane are keen to know all that transpires there. 

Shadow is the art of deception. Its paths include acting, puppetry, and illusion. It’s worth noting that all of the Demenses have courses that teach heirs how to weave illusions into their primary discipline; this is especially true of the Demesne of Music, where heirs learn to use Minor Image as an instrument and accompanist. The Demesne of Shadow teaches both broad and subtle ways to use Silent and Major image, efficient use of Disguise Self, how to use illusion to enhance a theatrical performance, and more. Courses cover using illusions for entertainment, self defense, and to deceive others; these latter paths are particularly important for heirs who hope to join the Serpentine Table. Likewise, the Demesne of Shadow is the finest acting school in Khorvaire—but in addition to training actors for the stage, it teaches spies to deceive. Needless to say, there are a number of courses that are only available to Phiarlan heirs. Any promising student can study acting, but only a Phiarlan will be offered a space in Advanced Impersonation. The first Demesne of Shadow was the House’s grandest enclave, located in the city of Metrol in Cyre. In the wake of the Mourning, House Phiarlan has relocated the Shadow to the Dragon Towers district of the city of Sharn, but they are still expanding and renovating the existing enclave to meet the needs of a full Demesne. Viceroy Alar Elorrenthi d’Phiarlan is the Master of Shadow and oversees the academy, but Matriarch Elvinor Elorrenthi d’Phiarlan also resides at the Demesne of Shadow and guides the House from there. Sharn is also noteworthy for the presence of Lady Tyasha Tialaen d’Phiarlan, widely considered to be the finest living actress in the Five Nations. 

The Eagle: The Entertainers and Artisans Guild

The Entertainers and Artisans Guild manages all aspects of the entertainment industry. Performers can receive training from the Eagle and apply for guild management, in which case the guild will handle promotion and bookings; alternately, a skilled performer can undergo a series of tests to receive a guild ranking but otherwise manage their own career. The ranking of a licensed performer determines their minimum pay and other benefits that must be provided by a venue or troupe. The Eagle takes a percentage of a performer’s income, which is increased for those receiving training or management.  This tithe is paid to the guild by the employer, so while a player character who’s licensed is technically paying a percentage, they never see that transaction. On the other side, the Eagle also licenses and operates theaters, music halls, and other venues, which assures performers of the quality of the venue and that it abides by guild standards. The same principles apply for artisans. Guild management promotes licensed writers, working with House Sivis to publish books and working with chronicles for serials and syndicated columns. Phiarlan runs art galleries, selling the work of painters and other artisans. Phiarlan also maintains and enforces copyright. Guild contracts often give the Eagle the rights to an artist’s works; however, this is something that can be negotiated. Likewise, representatives of the Eagle may license the right to be the sole outlet for entertainment based on the actions of an individual—for example, licensing the right to serialize the tales of a group of adventurers. 

Crystal Theaters are the latest innovation of House Phiarlan, and the House is still developing the industry. A group of adventurers could be hired as a proof of concept. A Phiarlan elf with a Shadow Eye will accompany the group, serving as the anchor for the scrying sensor that allows their deeds to be watched in theaters across the Five Nations. Currently there’s no way to record such performances, so everything must be done live; this means that the Phiarlan anchor will urge the adventurers to delay their dramatic actions until the designated broadcast time. They will surely also coach adventurers on their performances—Can the Barbarian be a little angrier? Maybe we could spot the Rogue stealing from the Paladin? Yes, I know that’s not something they do, but the audience loves interparty drama! Currently, the most popular crystal drama is the serial The Year of Blood and Fire, chronicling the final year of Tira Miron’s life as she fights against the forces of the Shadow in the Flame. Starring Kalael Tialaen as Tira Miron and Handar Shol as Samyr Kes, this weekly drama has people counting the days to the next episode!

Within the guild, there are a few established roles for entertainers. 

Bards are a nod to the ancient tradition of the phiarlans of Aerenal and Xen’drik. A Phiarlan bard is a wandering entertainer. Bards typically perform in taverns and inns rather than theaters; the goal of a bard is to interact with the common people. Bards are traditionally skilled storytellers, singers, and proficient with at least one instrument—though many use the Thurimbar Rod, which can mimic the sound of any instrument. Bards gather news wherever they go, and in addition to providing entertainment they share news and gossip. They play traditional favorites, but also perform improvised works that relate directly to current events. Bards are a valuable tool for the Serpentine Table. They help the Table keep tabs on current events and the mood of a community, and the traveling bard is a good cover for a spy. While bards typically play in taverns, a well-known Phiarlan bard can usually secure an invitation to a gala or a ball; if a host excludes a bard, it implies they have something to hide. 

Shadows are musical mercenaries, which is to say they can be hired directly from the guild for any sort of temporary work. Shadows can be hired to provide entertainment at an event, to support a star musician, to fill in roles in a performance, or whatever work is needed. Unless a job requires otherwise, Phiarlan shadows dress in black and hide their features behind black veils or masks. The point is that shadows are supposed to remain in the background, not to shine and draw attention. Serving as a shadow provides steady work for a musician whose talent can’t take them further, but it’s also an entry level position that allows a novice entertainer to hone their skills and hope to impress a manager. While the majority of the shadow corps are musicians, there are also writers and actors who can serve in temporary positions. Avatars are a specialty within the shadow corps: shadows talented with Disguise Self who specialize in impersonating famous entertainers or historical figures—for example, having King Galifar show up at a noble heir’s name day. The guild has a specific list of figures that can be hired as avatars, and shadows never impersonate living people. Despite these limitations, this work is good practice for a potential undercover agent of the Serpentine Table! 

Troupes are companies of actors or established bands that are managed and promoted by the guild. A troupe may be associated with a particular venue, or they may travel. Many troupes have devoted followings and star performers, but they don’t have the status of paragons.  

Paragons are the stars of House Phiarlan, celebrated and promoted across Khorvaire. The actress Tyasha Tialaen, the author Dolas Shol, the singer Bela the Banshee—Everyone in the Five Nations knows who these heirs are, even if they don’t care for their work. Some paragons reside in a particular place; Tyasha only performs at the Grand Stage and the Sharn Opera House. On the other hand, the Banshee is a touring musician, and the House arranges her schedules and venues. Paragons are appointed by the House. The title ensures wealth, comfort, and fame; paragons are also the heirs most likely to be entrusted with Heirloom Performances, described below. However, paragons are the face of House Phiarlan. A paragon can negotiate with the Eagle, determining for example whether they will tour or perform in residency, but they must ultimately abide by the decisions of the guild and they must maintain an expected output. 

These categories apply to the heirs who work directly for the guild, but there are countless independent artists who chart their own course without direct responsibility or assistance from the guild. As a Phiarlan musician, you don’t have to start as a shadow or commit to a career as a bard. But without guild management, you will have to find your own gigs.  

The Carnival of Shadows

When a citizen of the Five Nations hears “House Phiarlan,” most immediately think of the Carnival of Shadows. This traveling show has been operating for over a thousand years, and most people within the Five Nations have vivid memories of the first time they experienced the Carnival of Shadows. In its first years the Carnival was a small operation that operated out of a single tent. Now there are over a dozen enchanted tents, each offering a different experience. The three largest venues are the tents of Music, Motion, and Memory. The Tent of Music includes both traditional styles and a few up and coming musicians; local performers pray that they’ll be chosen for a spotlight set when the Carnival passes through. The Tent of Motion offers stunning displays of acrobatics, gymnastics, and dance. The Tent of Memory is the main stage, typically performing plays based on historical events along with a few beloved comedies. Of course, acrobats, actors, clowns and musicians can be encountered throughout the Carnival grounds, performing set pieces and improvised acts. 

Motion, Music, Memory… What about Shadow? The event is the Carnival of Shadows, and illusions are everywhere. There are seven tents that are potent focus items; an heir of the Mark of Shadow can attune to a Shadow Tent in order to program the entertainment within it. Four of these tents operate using the principles of Hallucinatory Terrain—they affect sight, sound, and smell but not the sense of touch. These forms of entertainment are typically journeys—the audience sits or stands in the center of the room and the illusion works around them, dazzling with sights and sounds but not allowing an interactive experience. Flyovers are popular. Recent shows have included The Race of Eight Winds, where viewers experience the race from the perspective of a pegasus rider; Arcanix in Peril, where patrons rise up to the citadel only to find it under attack by a dragon; Thar She Blows, a Lhazaar drake-hunting expedition; and The Mysteries of the Towering Wood, where viewers zoom through the canopy of the massive trees. Two of the tents function according to the principles of Mirage Arcane, which allows people to physically interact with the illusion. The illusions are projected over physical objects, but someone touching the illusion feels like the object is what it appears to be. These tents offer interactive experiences: Attend a feast with Galifar I and his five heirs, explore the Prince of Frost’s palace of frozen tears, experience the fall of Sharn at the end of the War of the Mark. While the illusions are tactile, these events involve actors playing key characters in the scenes and often secondary illusionists crafting incidental effects. But the ultimate experience is the smallest of the tents: Elorrenthi’s Dream. This tent uses the principles of Phantasmal Force and Phantasmal Killer to project a scenario directly into the minds of the participants. A subject can choose to resist the initial effect by making a DC 16 Intelligence check; however, they can choose to fail this saving throw if they wish to embrace the illusion. Those that are affected are fully immersed in the scenario of the phantasm. Typically participants are seated, but within the phantasm they may move and take imaginary actions. A wizard who casts Fireball as part of the phantasm won’t actually cast the spell or lose a spell slot; but they’ll believe they have until the phantasm ends. However, the phantasm is so real that the people within it can be harmed by it. Normally, safety protocols restrict any source of damage to 1d4 psychic damage—but if these protocols are removed or fail, an attack within the phantasm can deal up to 4d10 psychic damage. Any time someone is damaged by the phantasm, they may make a DC 16 Wisdom saving throw to snap out of the scenario. Note that while the damage inflicted is psychic damage, within the scenario the participant will perceive it as whatever type of damage it appears to be. They’ll think they’re being burned by fire, imagining it’s fire damage until they snap out of the scenario and find they are unburned. Within Elorrenthi’s Dream, any scenario is possible. In this tent, you could try to steal a relic from a dragon’s hoard without waking the slumbering wyrm. You could venture beneath the waves and negotiate with Sahuagin in the Eternal Dominion. You could arm wrestle Sora Maenya (... although, it’s just possible Sora Maenya might sense this demeaning use of her likeness and somehow seize control of the phantasm!). Currently, the Dream is operated by Chael Elorrenthi d’Phiarlan, one of the greatest shadow weavers of the House. Mechanically, Chael is more like a Magewright than a Wizard; they weave illusions through rituals, and the only spells they can cast quickly are the powers of their Greater Dragonmark. Chael is a master at crafting compelling scenarios. Earlier in their life Chael served in the Serpentine Table, but after a series of events they refuse to speak about—even to their closest friends—Chael broke ties to the Table. Their skills are so exceptional that the House has kept them on to serve in the Carnival, and Chael is still loyal to the House; but they will not use their talents or their tent on behalf of the Table. Note that Elorrenthi’s Dream is an Eldritch Machine, which required exceptional expertise and irreplaceable components to produce. The House only has one other Phantasmal generator of this type, which is located in the citadel of the Serpentine Table. It’s also up to the DM to decide: Is Ellorenthi’s Dream just an Eldritch Machine, drawing purely on the amplified power of the Mark of Shadow? Or is it something grander and even more remarkable? One possibility is that Ellorenthi’s Dream is a manifested portal to Dal Quor, and that the “phantasm” is a dream bubble within the Sea of Dreams. If this is the case, then it might be possible to leave the bubble and explore Dal Quor—or for quori spirits to seize control of the scenario. The Dream has been part of the Carnival for over a century, and if the Dreaming Dark is aware of it, they’ve chosen to leave it alone; but it’s always possible that they are simply waiting for the right moment to use it. A quori spirit couldn’t leave the tent, but within the phantasmal experience they could choose to manifest in their true form.

While the bulk of the Carnival staff are heirs of House Phiarlan, there are support staff from other Dragonmarked Houses. House Ghallanda runs concessions and supplies the food served at the illusory feast events. House Vadalis maintains a menagerie of exotic creatures. House Orien operates the Thunder Coaches that carry the Carnival across Khorvaire. And the Carnival will temporarily take on local talent—including remarkable performers licensed by the Eagle who aren’t actually Phiarlan heirs. 

The Carnival of Shadows operates year-round, following a set schedule that takes it across the Thronehold Nations. Since the Shadow Schism it no longer operates in Karrnath or the Lhazaar Principalities; House Thuranni is working on its own counterpart to the Carnival of Shadows, but it has a more limited pool of talent to work with and doesn’t have mirage or phantasm tents. Carnival performers get a month off each year. The line-up of performances and illusory experiences slowly shifts. There are favorites and traditional pieces that are always performed, but every year there’s something new to delight the regular patrons.  

The Serpentine Table

If the Five Demesnes are the heads of the hydra, the Serpentine Table is the shadow it casts. The Serpentine Table is an exceptional intelligence operation that has been building up contacts, resources, cover identities and pawns for over a thousand years. While field agents typically have the Mark of Shadow, many Serpentine operatives are unmarked elves who left the House (some even being excoriated) to take up positions in a community that could prove useful at some point. Consider the old elf who’s been running a Ghallanda-licensed inn for 200 years; who would think he’s secretly maintaining a Serpentine safehouse? 

One reason the Serpentine Table has been able to maintain its secrecy is that it doesn’t offer its services to the public. The lords of the Table choose their clients carefully and offer their services directly. There’s no haggling over price and the Table can refuse any request. The Serpentine Table isn’t driven purely by profit; like the old phiarlans of Aerenal, the agents of the Table believe that they are helping to maintain balance. Notably, they refused to accept any contracts for assassination against leaders of the Five Nations during the Last War. Among other things, this is a bargain with the leaders to respect the table and its terms. A nation that chose to directly oppose the Table—one that, for example, began taking preemptive actions against Phiarlan entertainers in the hopes of eliminating hidden Serpentine agents—would no longer be afforded this protection, and might suffer a wave of assassinations. This has surely happened at some point throughout the history of Galifar, though it’s not covered in the history books; the people involved know that King Galifar IV didn’t die of natural causes, but as far as the public knows, his death was unfortunately but entirely mundane. This is also why Breland and Aundair maintain their own intelligence agencies. Both nations work with the Serpentine Table when it approaches them with information or opportunities, but the Royal Eyes and Dark Lanterns will carry out missions Phiarlan would reject. However, there is a thread of corruption running through Phiarlan’s “agents of balance” narrative: the Twelve. Over ninety percent of the assassinations carried out by the Serpentine Table over the course of its history have been performed on behalf of other Dragonmarked Houses, largely helping to preserve House monopolies. Elemental binding, airships anyone can fly, a new formula for cheaper healing potions that doesn’t require the use of the Mark of Healing—there are many innovators who’ve quietly disappeared before their discoveries could threaten Houses. This ties to the general interdependence of the Twelve; House Phiarlan utilizes the services of all of the other Houses, and there’s always favors waiting to be called in on every side. So while the Table may not be willing to murder King Boranel, they might send an assassin to deal with an artificer who’s this close to producing an alternative to the Sivis Speaking Stone network. It’s worth noting that the Serpentine Table isn’t known to the general public, including the forces of the law within the Five Nations. Serpentine agents have no right to break the law; they can and have been arrested for crimes performed in the course of their missions. Every agent has a viable cover story to justify their actions, and knows that the proper response to arrest is to maintain that cover and wait for the Table to deal with it. An agent who breaks and begins to spill secrets will quickly be targets by other Serpentine assassins. While rare, this has happened before—adding fuel to the various conspiracy theories circulating in the world. 

There’s a representative of the Table at every major Pharlan enclave, and Table agents can commandeer House resources and demand the assistance of loyal heirs. However, overall the Table is invisible even within the House; it maintains its own facilities, safehouses, and internal hierarchy. Lord Seneschal Taen Shol d’Phiarlan serves as the liaison between the Table and Baron Elvinor; he provides the Matriarch with broad strokes of Table operations and any information she requires. Elvinor doesn’t get involved with the daily affairs of the Table, but she may issue edicts forbidding or demanding Table action. Notably, Elvinor was directly involved in planning in the wake of the Shadow Schism, working with the Table to determine how the House would deal with the Thuranni line. 

More often than not, what the Serpentine Table offers is information. Table spies are constantly acquiring interesting information, and a Table liaison will approach a chosen client with an offer: there’s something I think you’d like to know. The information will cost you ten thousand galifars. Favored clients can make requests through their liaison—we want to know what’s being built in the Graven factory in Starilaskur—but it’s always up to the Table as to whether to accept an offer and if so, how far to go with it. For example, if the Lords of the Table felt that what was being done in the Graven factory was especially vile, they might offer to sabotage it for an additional fee; or they might simply provide the details of the project with no further options for the client. Again, this is why Breland and Aundair have their own agencies; a Dark Lantern will do whatever they are ordered to do. Cyre largely relied on the Serpentine Table for its intelligence, which limited the sorts of operations it could carry out. 

The Thuranni and Paelion lines were the finest assassins in House Phiarlan. Now that both are gone, the Serpentine Table has a shortage of assassins. However, it has a host of excellent spies. Serpentine agents typically specialize in observation, impersonation, and theft. Consider the spells granted by the Mark of Shadow: Disguise Self, Invisibility and Greater Invisibility, Pass Without Trace, Clairvoyance, and the various forms of Image. A typical Serpentine agent strives to avoid ever being noticed by an enemy; if caught in the act, they’d usually rather drop a Mislead and flee than stay and seek to kill an opponent. A top agent may be equipped with Tialaen’s Kiss, allowing them to remove a witness’s memories of their involvement. Another major advantage the Serpentine Table has when it comes to gathering intelligence is its extensive scrying operations. The Table maintains three scrying centers which use Serpentine Mirrors to observe points of interest; in addition to a few standard Mirrors, each of these facilities has a Mirror with either the Mind Reading or Telepathy features. The power brokers of Khorvaire know that scrying is a threat, and the most critical locations and individuals will usually be shielded by Nondetection or Private Sanctum (both services available from House Kundarak!) but the Table can still gather vast amounts of useful information by monitoring public spaces and unprotected individuals related to an operation. 

The simplest way for a Phiarlan adventurer to work with the Serpentine Table is to be deputized for a particular mission, allowing them to return to their previous life once the task is completed. However, a Phiarlan adventurer could also be a long term investment for the Table—tasked to build up a capable group of allies who can be employed for missions without even knowing they’re working for House Phiarlan. In such a scenario, the heir would know they’re a Serpentine agent, and they might receive tips, supply drops, or other useful services from the House. But they might not receive a mission until the adventurers have built up experience and trust. On the other hand, if the players are interested, an entire party of adventurers could be an active cell of the Serpentine Table, following the Group Patron guidelines in Eberron Rising From The Last War. However, the simple fact is that in such a story it may be more compelling for the adventurers to work with the King’s Dark Lanterns or the Royal Eyes of Aundair. The simple fact is that the agents of the Serpentine Table are ultimately mercenaries, which means that their missions won’t follow a logical path that benefits a single nation or faction. One mission they may do something that serves the interests of Prince Oargev; but their next mission might be on behalf of Karrnath, undercutting Oargev.  

Canon sources don’t reveal the location of the seat of the Serpentine Table, or any of its safehouses or scrying centers. This means they could be anywhere you need them to be! You never know when the adventurers might discover that the basement of their favorite bar is a Serpentine stronghold!  

A final thing to keep in mind when dealing with Phiarlan adventurers and the Table: Every heir raised within the House knows a series of protocols that an agent of the Table will use to identify themselves. It’s not as simple as a stranger approaching and saying “I’m from the Serpentine Table, and you need to do what I say.” Depending on the circumstances they will use hand gestures or code words which inform the heir I’m an agent of the Table; they will never actually say Serpentine Table. Now, because every heir knows these codes, a foolhardy adventurer might be tempted to impersonate a Serpentine agent—using those codes to trick another Phiarlan heir into doing their bidding. But just as every heir is taught these codes, they are also taught that it is a deadly crime against the House to impersonate an agent or to share the secrets of the Table. House Phiarlan has no love of assassination, but they will spare no effort to hunt down and slay any heir (or anyone else!) who impersonates an agent. This is a well established fact with a number of well-known examples, and only an heir with a death wish would even think of doing such a thing.