
DUNGEONS DRAGONS 


Everything a Dungeon Master needs to weave legendary stories 


for the world s 




Credits 


D&D Lead Designers: Mike Mearls, Jeremy Crawford 

Dungeon Master’s Guide Leads: Jeremy Crawford, 

Christopher Perkins, James Wyatt 

Designers: Robert), Schwalb, Rodney Thompson, Peter Lee 

Editors: Scott Fitzgerald Gray, Michele Carter, Chris Sims, 
Jennifer Clarke Wilkes 

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interior Illustrators: Rob Alexander, DaveAllsop, Daren Bader, 
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Based on the original D&D game created by 

E. Cary Gygax and Dave Arneson 
with Brian Slume, Rob Kurtz amts - -c and Dz^ - 
Drawing from further development by 
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ON THE COVER 

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as he raises an army of undead and prepares to 
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620A9219000001 EN 
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First Printing:: December 2014 

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you're not sure what to do next, feign illness, end the session early, and p ;: ,;. -;.f w - - -- \r fails, r 0 i7 o bunch of dice behind your screen* study them for o moment with a loo* of 

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Contents 


Introduction 4 

The Dungeon Master.............4 

How to Use This Book... ,.4 

Know Your Players______........._.,.6 

Part 1 i 


Chapter 1: A World of Your Own... 

The Big Picture....... 

Gods of Your World...,.... 

Mapping Your Campaign, .„.... 

Settlements.....,,.,,......,.... 

Languages and Dialects.,.,.,.,. 

Factions and Organizations... 

Magic in Your World........ 

Creating a Campaign... 

Campaign Events...... 

Pl ay Style...... ...... 

Tiers of Play........ 

Flavors of Fantasy..... 


Chapter 2: Creating a Multiverse., 


The Planes —-. 

Planar Travel.... 

Astral Plane...... 

Ethereal Plane.. 

Feywild..... 

Shadowfell......... 

Inner Planes. 

Outer Planes. 

Other Planes...,, 



Known Worlds of the Material Plane 


....9 

....9 

..10 

.,14 

„15 

.20 

..21 

.23 

.25 

.26 

.34 

.36 

.38 

.43 
.43 
.44 
.46 
.48 
,49 
..51 
.52 
. 57 
.67 
.68 


Pa rt 2 


69 


Chapter 3: Creating Adventures 

Elements of a Great Adventure.... 

Published Adventures....... 

Adventure Structure...... 

Adventure Types...... 

Complications...... 

Creating Encou nters ______ 

Random Encounters.............. 


.71 

..71 

.72 

.72 

.72 

.79 

,81 

,85 


Chapter 4: Creating Nonplayer 

Characters........ 

Designing NPCs....... 

NPC Party Members...... 

Contacts...,............ 

Hirelings... 

Extras........... 

Villains....... 

Villainous Class Options... 


.89 

.89 

.92 

.93 

..... 94 

.94 

..... 94 
.....96 


Chapter 5: Adventure Environments.,.99 


Dungeons... 

Mapping a Dungeon.... 

Wilderness,.,. 

Mapping a Wilderness 
Wilderness Survival.... 

Settlements... 

Mapping a Settlement. 
Urban Encounters........ 


■ m n 


a 




..99 

... 102 

... 106 
... 108 

...109 

...112 

.114 

..,.114 


Unusual Environments..,.,,,.. 116 

TV ans 

A I U. O -i s t e 4 a r e i- ■ -F a -i- ■ r ■ r ■ ■ i ■ ■! ■ r ■ -r ■ ■■ ■ -■ ■ ■ ■ ■■ ■ ■ ■ ■ ■ ■ ■ n ■ j ■ I! ■ ■ ■ J ■ ■ ■ I. ■ ■ 1 I. ■ I 1 .1. I I fc J fi t J a 4 . i 4 i. J. -ifr-i 

Chapter 6: Between Adventures....125 

Linking Adventures...........125 

Campaign Tracking,.. 126 

Recurring Expenses...............126 

Downtime Activities.......... 127 

Chapter 7: Treasure,..,., .......,133 

Types of Treasure.....133 

Random Treasure... 133 

Magic Items........_____135 

Sentient Magic Items..,.. 214 

Artifacts,... 219 

Other Rewards...........227 

Part 3 233 


Chapter 8: Running the Game .235 

Table Rules.....,......,.,..,,,.,,,. 235 

The Role of Dice.........236 

Using Ability Scores. 237 

Exploration....2 42 

Social Interaction.... 244 

Objects..............,246 

Combat_____,.__247 

Chases..«...... 252 

Siege Equipment.. 255 

Diseases ... 256 

Poisons...........257 

Madness.... 258 

Experience Points...... 260 

Chapter 9: Dungeon Master's 

Workshop.. ..263 

Ability Options. .263 

Adventuring Options..... .........266 

Combat Options.. 270 

Creating a Monster...........273 

Creating a Spell..................,,, 283 

Creating a Magic Item .....284 

Creating New Character Options......,285 

Appendix A: Random Dungeons 290 

Start i ng A rea......... 290 

Passages... 290 

Doors............291 

Chambers —......... 291 

Stairs........... 291 

Connecting Areas. ......292 

Stocking a Dungeon,.,... 292 

Appendix B: Monster Lists 302 


Appendix C: Maps 310 


Appendix D: Dungeon 

Master Inspiration 316 


Index 317 

























































































































Introduction 

T) 

T S GOOD TO &E THE DUNGEON MASTER! NOT ONLY 
do you get to tell fantastic stories about heroes, 
villains, monsters, and magic, but you also get 
to create the world in which these stories live. 
Whether you Ye running a D&D game already 
or you think it s something you want to try. this 
book is for you. 

The Dungeon Master's Guide assumes that you know 
the basics of how to play the D&D tabletop roleplaying 
game. If you havenY played before, the DUNGEONS eP 
Dragons Starter Set is a great starting point for new 
players and DMs. 

This book has two important companions; the Players 
Handbook, which contains the rules your players need 
to create characters and the rules you need to run the 
game, and the Monster Manual . which contains ready-lo¬ 
use monsters to populate your D&D world. 

The Dungeon Master 

The Dungeon Master (DM) is the creative force 
behind a D&D game. The DM creates a world for the 
other players to explore, and also creates and runs 
adventures that drive the story. An adventure typically 
hinges on the successful completion of a quest, and 
can be as short as a single game session. Longer 
adventures might embroil players in great conflicts that 
require multiple game sessions to resolve. When strung 
together, these adventures form an ongoing campaign, 

A D&D campaign can include dozens of adventures and 
last for months or years, 

A Dungeon Master gets to wear many hats. As the 
architect of a campaign, the DM creates adventures 
by placing monsters, traps, and treasures for the other 
players’ characters (the adventurers) to discover. As 
a storyteller, the DM helps the other players visualize 
what's happening around them, improvising when the 
adventurers do something or go somewhere unexpected. 
As an actor, the DM plays the roles of the monsters and 
supporting characters, breathing life into them. And as a 
referee, the DM interprets the rules and decides when to 
abide by them and when to change them. 

Inventing, writing, storytelling, improvising, acting, 
refereeing—every DM handles these roles differently, 
and you’ll probably enjoy some more than others. It 
helps to remember that Dungeons & Dragons is a 
hobby, and being the DM should be fun. Focus on the 
aspects you enjoy and downplay the rest. For example, if 
you don't like creating your own adventures, you can use 
published ones. You can also lean on the other players 
to help you with rules mastery and world-building. 

The D&D rules help you and the other players have 
a good time, but the rules aren't in charge. You Ye the 
DM, and you are in charge of the game. That said, your 
goal isn't to slaughter the adventurers but to create a 
campaign world that revolves around their actions and 
decisions, and to keep your players coming back for 
more! If you Ye lucky, the events of your campaign will 
echo in the memories of your players long after the final 
game session is concluded. 


How to Use This Book 

This book is organized in three parts. The first part 
helps you decide what kind of campaign you'd like to 
run. The second part helps you create the adventures— 
the stories—that will compose the campaign and 
keep the players entertained from one game session 
to ihe next. The last part helps you adjudicate the 
rules of the game and modify them to suit the style of 
your campaign. 

Part 1 : Master of Worlds _ 

Every DM is the creator of his or her own campaign 
world. Whether you invent a world, adapt a world from 
a favorite movie or novel, or use a published setting for 
the D&D game, you make that world your own over the 
course of a campaign. 

The world where you set your campaign is one of 
countless worlds that make up the D&D multiverse. 
a vast array of planes and worlds where adventures 
happen. Even if you re using an established world such 
as the Forgotten Realms, your campaign takes place 
in a sort of mirror universe of the official setting where 
Forgotten Realms novels, game products, and digital 
games are assumed to take place. The world is yours to 
change as you see fit and yours to modify as you explore 
the consequences of the players' actions. 

Your world is more than just a backdrop for 
adventures. Like Middle Earth. Westeros, and countless 
other fantasy worlds out there, it’s a place to which you 
can escape and witness fantastic stories unfold. A well- 
designed and well-run world seems to flow around the 
adventurers, so that they feel part of something, instead 
of apart from it. 

Consistency is a key to a believable fictional 
world. When the adventurers go back into town for 
supplies, they should encounter the same nonplayer 
characters (NPCs) they met before. Soon, they'll learn 
the bat-keep's name, and he or she will remember 
theirs as well. Once you have achieved this degree of 
consistency, you can provide an occasional change. If 
the adventurers come back to buy more horses at the 
stables, they might discover that the man who ran the 
place went back home to the large city over the hills, 
and now his n iece runs the family business. That sort of 
change—one that has nothing to do with the adventurers 
directly, but one that they'll notice—makes the players 
feel as though their characters are part of a living world 
that changes and grows along with them. 

Part 1 of this book is all about inventing your world. 
Chapter 1 asks what type of game you want to run, and 
helps you nail down a few important details about your 
world and its overarching conflicts. Chapter 2 helps you 
put your world in the greater context of the multiverse, 
expanding on the information presented in the Player's 
Handbook to discuss die planes of existence and the 
gods and how you can put them together to serve the 
needs of your campaign. 



4 


I ntroductjon 
















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SK? 


Part 2 : Master of Adventures 

Whether you write your own adventures or use 
published ones, expect to invest preparation time 
beyond the hours you spend at the gaming table. You"II 
need to carve out some free time to exercise your 
creativity as you invent compelling plots, create new 
NPCs. craft encounters, and think of clever ways to 
foreshadow story events yet to come. 

Part 2 of this book is devoted to helping you create 
and run great adventures. Chapter 3 covers the basic 
elements of a D&D adventure, and chapter 4 helps you 
create memorable NPCs. Chapter 5 presents guidelines 
and advice for running adventures set in dungeons, 
the wilderness, and other locales, and chapter 6 covers 
the time between adventures. Chapter 7 is all about 
treasure, magic items, and special rewards that help 
keep the players invested in your campaign. 

Part 3 : Master of Rules 


Dungeons & Dragons isn’t a head-to-head competition, 
but it needs someone who is impartial yet involved in the 
game to guarantee that everyone at the table plays by the 
rules. As the player who creates the game world and the 
adventures that take place within it, the DM is a natural 
fit to take on the referee role. 

As a referee, the DM acts as a mediator between the 
rules and the players. A player tells the DM what he or 
she wants to do, and the DM determines whether it is 
successful or not. in some cases asking rhe player to 
make a die roll to determine success. For example, if a 
player wants his or her character to take a swing at an 
ore. you say, "Make an attack roll" while looking up the 
ore’s Armor Class. 

The rules don’t account for every possible situation 
that might arise during a typical D&D session. For 


example, a player might want his or her character to 
hud a brazier full of hot coals into a monster s face. 

How you determine the outcome of this action is up to 
you. You might tell the player to make a Strength check, 
while mentally setting the Difficulty Class (DC) at 15. 

If the Strength check is successful, you then determine 
how a face full of hot coals affects the monster. You 
might decide that it deals ld4 fire damage and imposes 
disadvantage on the monster's attack rolls until the end 
of its next turn. You roll the damage die (or let the player 
do it), and the game continues. 

Sometimes mediating the rules means setting limits. 
If a player tells you, "1 want to run up and attack the 
ore/’ but the character doesn’t have enough movement 
to reach the ore, you say, “It’s too far away to move up 
and still attack. What would you like to do instead?"’ 

The player takes the information and comes up with a 
different plan. 

To referee the rules, you need to know them. You don’t 
have to memorize this book or the Player’s Handbook, 
but you should have a clear idea of their contents so that, 
when a situation requires a ruling, you know^ where to 
find the proper reference. 

The Player's Handbook contains the main rules you 
need to play the game. Part 3 of this book offers a wealth 
of information to help you adjudicate the rules in a wide 
variety of situations. Chapter 8 presents advice for using 
attack rolls, ability checks, and saving throws. It also 
includes options appropriate for certain play styles and 
campaigns, including guidelines for using miniatures, 
a system for handling chase scenes, and rules for 
madness. If you like to create your own stuff, such 
as new monsters, races, and character backgrounds, 
chapter 9 shows you how. That chapter also contains 
optional rules for unusual situations or play styles, such 
as the use of firearms in a fantasy setting. 


introduction 


5 















Know Your Players 

The success of a D&D game hinges on your ability to 
entertain the other players at the game table. Whereas 
their role is to create characters (the protagonists of 
the campaign), breathe life into them, and help steer 
the campaign through their characters’ actions, your 
role is to keep the players (and yourself) interested and 
immersed in the world you’ve created, and to Let their 
characters do awesome things. 

Knowing what your players enjoy most about the 
D&D game helps you create and run adventures that 
they will enjoy and remember. Once you know which of 
the following activities each player in your group enjoys 
the most, you can tailor adventures that satisfy your 
players’ preferences as much as possible, thus keeping 
them engaged. 

Acting _ __ 

Players who enjoy acting like getting into character 
and speaking in their characters' voices, Rolcplayers 
at heart, they enjoy social interactions with NPCs. 
monsters, and their fellow party members. 

Engage players who tike acting by 

* giving them opportunities to develop their characters 1 
personalities and backgrounds. 

* allowing them to interact regularly with NPCs. 

* adding roleplaying elements to combat encounters, 

* incorporating elements from their characters' back¬ 
grounds into your adventures. 

Exploring _ 

Players who desire exploration want to experience the 
wonders that a fantasy world has to offer. They want to 
know what's around the next corner or hill. They also 
like to find hidden clues and treasure. 

Engage players who like exploration by 

* dropping clues that hint at things yet to come. 

- letting them find things when they take the time 
to explore. 

- providing rich descriptions of exciting environments, 
and using interesting maps and props, 

* giving monsters secrets to uncover or cultural 
details to learn. 

Instigating _ 

Player’s who like to instigate action are eager to make 
things happen, even if that means taking perilous risks. 
They would rather rush headlong into danger and face 
the consequences than face boredom. 

Engage players who like to instigate by ... 

* allowing them to affect their surroundings. 

* including things in your adventures to tempt them. 

* letting their actions put the characters in a tight spot, 

* including encounters with NPCs who are as feisty and 
unpredictable as they are. 


Fighting 

Players who enjoy fantasy combat like kicking the 
tar out of villains and monsters. They look for any 
excuse lo start a fight, favoring bold action over careful 
deliberation. 

Engage players who like fighting by 

* springing unexpected combat encounters on them, 

* vividly describing the havoc their characters wreak 
with their attacks and spells. 

* including combat encounters with large numbers of 
weak monsters. 

* interrupting social interaction and exploration 
with combat. 

Opti mizing _ _ _ 

Players who enjoy optimizing their characters' 
capabilities like to fine-tune their characters for peak 
combat performance by gaining levels, new features, 
and magic items. They welcome any opportunity to 
demonstrate their characters' superiority. 

Engage players who like optimization by ,,, 

* ensuring steady access to new abilities and spells. 

* using desired magic items as adventure hooks. 

* including encounters that let their characters shine. 

* providing quantifiable rewards, like experience points, 
for noncombat encounters. 

Problem Solving 

Players who want to solve problems like to scrutinize 
NPC motivations, untangle a villain s machinations, 
solve puzzles, and come up with plans. 

Engage players who like to solve problems by ... 

* including encounters that emphasize problem-solving. 

* rewarding planning and tactics with in-game benefits. 

* occasionally allowing a smart plan to grant an easy 
win for the players. 

* creating NPCs with complex motives. 

Storytelling 

Players who love storytelling want to contribute to a 
narrative. They like it when their characters are heavily 
invested in an unfolding story, and they enjoy encounters 
that are, tied to and expand an overarching plot. 

Engage players who like storytelling by ... 

* using their characters’ backgrounds to help shape the 
stories of the campaign. 

* making sure an encounter advances the story 
in some way. 

* making their characters' actions help steer 
future events. 

* giving NPCs ideals, bonds, and flaws that the adven¬ 
turers can exploit. 



6 


INTRODUCTION 































Worlds 


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Chapte r 1: A World of Your Own 



OUR WORLD IS T HE SETTING I OR YOUR CAMPAIGN, 
the place where adventures ha] j pen. Even 
if you use an existing setting, such as the 
Forgotten Realms, It becomes yours as you 
set your adventures there, create characters 
to inhabit it, and make changes to it over 
the course of your campaign. This chapter is all about 
building your world and then creating a campaign to 
take place in it. 


The Big Picture 

This book, the Players Handbook, and the Monster 
Manual present the default assumptions for how the 
worlds of D&D work. Among the established settings of 
D&D, the Forgotten Realms, Grey hawk. Dragon lance, 
and Mystara don’t stray very far from those 
assumptions. Settings such as Dark Sun, Eberron, 

Raven loft, Spelljammer, and Plane scape venture further 
away from that baseline. As you create your own world, 
its up to you to decide where on the spectrum you want 
your world to fall. 

Core Assumptions _ 

The rules of the game are based on the following core 
assumptions about the game world, 

Gods Oversee the World ♦ The gods are real and 
embody a variety of beliefs, with each god claiming 
dominion over an aspect of the world, such as war, 
forests, or the sea, Gods exert influence over the w T orld 
by granting divine magic to their followers and sending 
signs and portents to guide them. The follower of a god 
serves as an agent of that god in the world. The agent 
seeks to further the ideals of that god and defeat its 
rivals. While some folk might refuse to honor the gods, 
none can deny their existence. 

Much of the World Is Untamed, Wild regions 
abound. City-states, confederacies, and kingdoms 
of various sizes dot the landscape, but beyond their 
borders the wilds crowd in. People know r the area they 
live in w ell. They’ve heard stories of other places from 
merchants and travelers, but few know' what lies beyond 
the mountains or in the depths of the great forest unless 
they’ve been there themselves. 

The World Is Ancient. Empires rise and fal! t leaving 
few places that have not been touched by imperial 
grandeur or decay. War, time, and natural forces 
eventually claim the mortal world, leaving it rich with 
places of adventure and mystery. Ancient civilizations 
and their knowledge survive in legends, magic 
items, and their ruins. Chaos and evil often follow' an 
empire’s collapse. 

Conflict Shapes the World's History. Powerful 
individuals strive to make their mark on the world, and 
factions of like-minded individuals can alter the course 
of history. Factions include religions led by charismatic 
prophets, kingdoms ruled by lasting dynasties, and 
shadowy societies that seek to master long-lost magic. 
The influence of such factions waxes and wanes as 


they compete with each other for power. Some seek to 
preserve the world and usher in a golden age. Others 
strive toward evil ends, seeking to rule the world with 
an iron fist. Still others seek goals that range from 
the practical to the esoteric, such as the accumulation 
of material wealth or the resurrection of a dead god. 
Whatever their goals, these factions inevitably collide, 
creating conflict that can steer the world's fate. 

The World Is Magical Practitioners of magic are 
relatively few in number, but they leave evidence of 
their craft everywhere. The magic can be as innocuous 
and commonplace as a potion that heals wounds to 
something much more rare and impressive, such as a 
levitating tower or a stone golem guarding the gates 
of a city. Beyond the realms of civilization are caches 
of magic items guarded by magic traps, as well as 
magically constructed dungeons inhabited by monsters 
created by magic, cursed by magic, or endowed with 
magical abilities. 

It’s Your World 

In creating your campaign world, it helps to start with 
the core assumptions and consider how your setting 
might change them. The subsequent sections of this 
chapter address each element and give details on how to 
flesh out your world with gods, factions, and so forth. 

The assumptions sketched out above aren’t carved 
in stone. They inspire exciting D&D worlds full of 
adventure, hut they’re not the only set of assumptions 
that can do so. You can build an interesting campaign 
concept by altering one or more of those core 
assumptions, just as well-established D&D worlds have 
done. Ask yourself, “What if the standard assumptions 
weren't true in my world?” 

The World Is a Mundane Place. What if magic is rare 
and dangerous, and even adventurers have limited or no 
access to it? What if your campaign is set in a version of 
our own world's history? 

The World Is New. What if your world is new, and 
the characters are the first of a long line of heroes? 

The adventurers might be champions of the first 
great empires, such as the empires of Nethenl and 
Cormanthor in the Forgotten Realms setting. 

The World Is Known. What if the world is completely 
charted and mapped, right down to the “Here there be 
dragons" notations? What if great empires cover huge 
stretches of countryside, with clearly defined borders 
between them? The Five Nations of the Eberron setting 
were once part of a great empire, and magically aided 
travel between its cities is commonplace. 

Monsters Are Uncommon. What if monsters are 
rare and terrifying? In the Ravenloft setting, horrific 
domains are governed by monstrous rulers. The 
populace lives in perpetual terror of these darklords 
and their evil minions, but other monsters rarely trouble 
people’s daily lives. 

Magic Is Everywhere. What if every town is ruled 
by a powerful wizard? What if magic item shops are 
common? The Eberron setting makes the use of magic 


HARTER ! | A WORLD OF YOU k OWN 










an everyday occurrence, as magical flying ships and 
trains carry travelers from one great city to another. 

Gods Inhabit the Land, or Are Entirety Absent. 

What if the gods regularly walk the earth? What if the 
characters can challenge them and seize their power? 

Or what if the gods are remote, and even angels never 
make contact with mortals? In the Dark Sun setting, the 
gods are extremely distant—perhaps nonexistent—and 
clerics rely instead on elemental power for their magic. 

Gods of Your World 

Appendix B of the Players Handbook presents a 
number of pantheons (loose groupings of deities not 
united by a single doctrine or philosophy) for use in your 
game, including the gods of established D&D worlds 
and fantasy-historical pantheons. You can adopt one of 
these pantheons for your campaign, or pick and choose 
deities and ideas from them as you please. See “A 
Sample Pantheon h in this section for an example. 

As far as the game's rules are concerned, it doesn't 
matter if your world has hundreds of deities or a church 
devoted to a single god. In rules terms, clerics choose 
domains, not deities, so your world can associate 
domains w ith deities in any way you choose. 

Loose Pantheons _ 

Most D&D worlds have a loose pantheon of gods, 

A multitude of deities rule the various aspects of 
existence, variously cooperating with and competing 
against one another to administer the affairs of the 
universe. People gather in public shrines to worship 
gods of life and wisdom, or meet in hidden places to 
venerate gods of deception or destruction. 

Each deity in a pantheon has a portfolio and is 
responsible for advancing that portfolio. In the 
Grcyhawk setting, Beironeous is a god of valor who 


calls clerics and paladins to his service and encourages 
them to spread the ideals of honorable warfare, 
chivalry, and justice in society. Even in the midst of his 
everlasting war with his brother Hex tor, god of war and 
tyranny, Heironeous promotes his own portfolio: war 
fought nobly and in the cause of justice. 

People in most D&D worlds are polytheistic, honoring 
deities of their own and acknowledging pantheons of 
other cultures. Individuals pay homage to various gods, 
regardless of alignment. In the Forgotten Realms, a 
person might propitiate Umberlee before setting out 
to sea, join a communal feast to celebrate Chauntea at 
harvest time, and pray to Malar before going hunting. 

Some individuals feel a calling to a particular deity’s 
service and claim that god as a patron. Particularly 
devoted individuals become priests by setting up a 
shrine or helping to staff a holy site. Much more rarely, 
those who feel such a calling become clerics or paladins 
invested with the responsibility of true divine power. 

Shrines and temples serve as community gathering 
points for religious rites and festivals. Priests at such 
sites relate stories of the gods, teach the ethics of their 
patron deities, offer advice and blessings, perform 
religious rites, and provide training in activities their 
deities favor. Cities and large towns can host several 
temples dedicated to individual gods important to the 
community, while smaller settlements might have a 
single shrine devoted to any gods the locals revere. 

To quickly build a pantheon for your world, create 
a single god for each of the eight domains available 
to clerics: Death, Knowledge, Life, Light, Nature, 
Tempest, Trickery, and War. You can invent names 
and personalities for these deities, or borrow deities 
from other pantheons. This approach gives you a small 
pantheon that covers the most significant aspects of 
existence, and it’s easy enough to extrapolate other 
areas of life each deity controls. The god of Know ledge, 


Dawn War Deities 


Deity 

Alignment 

Suggested Domains 

Symbol 

Asmodeus, god of tyranny 

LE 

Tricke ry 

Three triangles in tight formation 

Avandra, goddess of change and luck 

CG 

Trickery 

Three stacked wavy lines 

Bahamut, god of justice and nobility 

LG 

Life, War 

Dragon’s head, in profile, facing left 

Bane, god of war and conquest 

LE 

War 

Claw with three talons pointing down 

Corellon, god of magic and the arts 

CG 

Light 

Eight-pointed star 

Erathis, goddess of civilization and invention 

IN 

Knowledge 

Upper half of a clockwork gear 

Gruumsh, god of destruction 

CE 

Tempest, War 

Triangular eye with bony protrusions 

loun, goddess of knowledge 

N 

Knowledge 

Crook shaped like a stylized eye 

Kord, god of strength and storms 

CN 

Tempest 

Sword with a lightning bolt cross guard 

Lolth, goddess of spiders and lies 

CE 

Trickery 

Eight-pointed star with a web motif 

Melora, goddess of wilderness and the sea 

N 

Nature, Tempest 

Wavelike swirl 

Moradin, god of creation 

LG 

Knowledge, War 

Flaming anvil 

Pelor, god of the sun and agriculture 

NG 

Life, Light 

Circle with six outwardly radiating points 

Raven Queen, goddess of death 

LN 

Life, Death 

Raven's head, in profile, facing left 

Sehanine, goddess of the moon 

CG 

Trickery 

Crescent moon 

Tharizdun, god of madness 

CE 

Trickery 

Jagged counter-clockwise spirai 

Tiamat, goddess of wealth, greed, and vengeance 

LE 

Trickery, War 

Five-pointed star with curved points 

Torog, god of the Underdark 

NE 

Death 

T attached to a circular shackle 

Vecna, god of evil secrets 

NE 

Death, Knowledge 

Partially shattered one-eyed skull 

Zehir, god of darkness and poison 

CE 

Trickery, Death 

Snake in the shape of a dagger 


CHARTER 3 


A W O R1 D O F YOUR OW N 











for example* might also be patron of magic and 
prophecy, while the god of Light could be the sun god 
and the god of time* 

A Sample Pantheon 

The pantheon of the Dawn War is an example of a 
pantheon assembled from mostly preexisting elements 
to suit the needs of a particular campaign* This is 
the default pantheon in the fourth edition Players 
Handbook (2008), The pantheon is summarized in the 
Dawn War Deit ies table. 

This pantheon draws in several nonhuman deities 
and establishes them as universal gods* These gods 
include Bahamut, Corel Ion, Gruumsh, Lolth, Moradin. 
Sehanine, and Tiamat. Humans worship Moradin and 
Corellon as gods of their respective portfolios, rather 
than as racial deities* The pantheon also includes the 
archdevil Asmodeus as god of domination and tyranny. 

Several of the gods are drawn from other pantheons, 
sometimes with new names for the gods* Bane comes 
from the Forgotten Realms* From Greyhawk come 
Kord, Pelor* Tharizdun* and Vecna* From the Greek 
pantheon come Athena (renamed Erathis) and Tyche 
(renamed Avandra), though both are altered. Set 
(renamed Zehir) comes from Hie Egyptian pantheon. 

The Raven Queen is akin to the Norse pantheon's Hel 
and Grey hawk’s Weejas* That leaves three gods created 
from scratch: Ioun, Melora, and Torog, 

Other Reli gious Systems _ 

In your campaign, you can create pantheons of gods 
who are closely linked in a single religion, monotheistic 
religions (worship of a single deity), dualistic systems 
(centered on two opposing deities or forces), mystery 
cults (involving personal devotion to a single deity* 
usually as part of a pantheon system)* animistic 
religions (revering the spirits inherent in nature), or 
even forces and philosophies that don't center on deities. 

Tight Pantheons 

In contrast to a loose pantheon, a tight pantheon focuses 
on a single religion whose teachings and edicts embrace 
a small group of deities. Followers of a tight pantheon 
might favor one of its member deities over another* 
but they respect all the deities and honor them with 
sacrifices and prayer as appropriate. 

The key trait to a tight pantheon is that its worshipers 
embrace a single ethos or dogma that includes all the 
deities. The gods of the tight pantheon work as one to 
protect and guide their followers. You can think of a 
tight pantheon as similar to a family. One or two deities 
who lead the pantheon serve as parent figures, with 
the rest serving as patrons of important aspects of the 
culture that worships the pantheon. A single temple 
honors all members of the pantheon. 

Most tight pantheons have one or more aberrant 
gods—deities whose worship isn’t sanctioned by the 
priests of the pantheon as a whole. These are usually 
evil deities and enemies of the pantheon, such as the 
Greek Titans. These deities have cults of their own, 
attracting social outcasts and villains to their worship* 
These cults resemble mystery cults, their members 


strictly devoted to their single god, though even 
members of aberrant cults pay lip service in the temples 
of the tight pantheon. 

The Norse deities serve as an example of a tight 
pantheon, Odin is the pantheon's leader and father 
figure* Deities such as Thor, Tyr, and Freya embody 
important aspects of Norse culture. Meanwhile, Loki 
and his devotees lurk in the shadows* sometimes aiding 
the other deities, and sometimes working against them 
with the pantheon’s enemies. 

Mystery Cults 

A mystery cult is a secretive religious organization 
based on a ritual of initiation* in which the initiate is 
mystically identified with a god. or a handful of related 
gods. Mystery cults are intensely personal, concerned 
with the initiate s relationship with the divine. 

Sometimes a mystery cult is a type of worship within 
a pantheon. It acknowledges the myths and rituals of 
the pantheon, but presents its own myths and rites as 
primary. For instance, a secretive order of monks might 
immerse themselves in a mystical relationship to a god 
who is part of a broadly worshiped pantheon* 

A mystery cult emphasizes the history of its god, 
which is symbolically reenacted in its initiation ritual, 
fhe foundation myth of a mystery cult is usually simple 
and often involves a god s death and rising, or a journey 
to the underworld and a return. Mystery cults often 
revere sun and moon deities and agricultural deities— 
gods whose portfolios reflect the cycles of nature. 


Divine Rank 

The divine beings of the multiverse are often categorized 
according to their cosmic power. Some gods are worshiped 
on multiple worlds and have a different rank on each world, 
depending on their influence there* 

Greater deities are beyond mortal understanding. They 
can't be summoned, and they are almost always removed 
from direct involvement in mortal affairs. On very rare 
occasions they manifest avatars similar to lesser deities, but 
slaying a greater god’s avatar has no effect on the god itself 
Lesser deities are embodied somewhere in the planes. 
Some lesser deities live in the Material Plane, as does the 
unicorn-goddess Lurue of the Forgotten Realms and the 
titanic shark-god Sekolah revered by the sahuagin. Others 
live on the Outer Planes, as Lolth does in the Abyss. Such 
deities can be encountered by mortals. 

Quasi-deities have a divine origin, but they don't hear or 
answer prayers, grant spells to clerics, or control aspects of 
mortal life. They are still immensely powerful beings, and in 
theory they could ascend to god hood If they amassed enough 
worshipers. Quasi-deities fall into three subcategories: 
demigods, titans, and vestiges. 

Demigods are born from the union of a deity and a mortal 
being. They have some divine attributes, but their mortal 
parentage makes them the weakest quasi-deities. 

Titans are the divine creations of deities. They might be 
birthed from the union of two deities, manufactured on 
a divine forge, born from the blood spilled by a god, or 
otherwise brought about through divine will or substance. 

Vestiges are deities who have lost nearly all their worshipers 
and are considered dead, from a mortal perspective. Esoteric 
rituals can sometimes contact these beings and draw on 
their latent power. 


CHAPTER 1 A WORLD Ol YOUR OWN 




The cult’s ritual of initiation follows the pattern of its 
foundation myth. Neophytes retrace the god’s footsteps 
in order to share the god’s ultimate fate. In the case of 
dying and rising gods, the symbolic death of the initiate 
represents the idea of death to the old life and rebirth 
into a transformed existence. Initiates are born into 
a new life, remaining in the world of mortal affairs 
but feeling elevated to a higher sphere. The initiate is 
promised a place in the god’s realm after death, but also 
experiences new meaning in life. 

Monotheism 

Monotheistic religions revere only one deity, and in 
some cases, deny the existence of any other deity. If you 
introduce a monotheistic religion into your campaign, 
you need to decide whether other gods exist. Even if 
they don’t, other religions can exist side by side with 
the monotheistic religion. If these religions have clerics 
with spellcasting ability, their spells might be powered 
by the one true deity, by lesser spirits who aren’t deities 
(possibly including powerful aberrations, celestials, fey, 
fiends, or elementals), or simply by their faith. 

The deity of a monotheistic religion has an extensive 
portfolio and is portrayed as the creator of everything, in 
control of everything, and concerned with every aspect 
of existence. Thus, a worshiper of this god offers prayers 
and sacrifices to the same god regardless of what 
aspect of life is in need of divine assistance. Whether 
marching into war, setting off on a journey, or hoping 
to win someone’s affections, the worshiper prays to 
the same god. 

Some monotheistic religions describe different 
aspects of their deity. A single god appears in different 
aspects as the Creator and the Destroyer, and the clerics 
of that god focus on one aspect or the other, determining 
their domain access and possibly even their alignment 
on that basis. A cleric who venerates the Destroyer 
aspect chooses the Tempest or War domain, while 
one who worships a Creator aspect chooses the Life 
or Nature domains. In some monotheistic religions, 
clerics group themselves into distinct religious orders to 
differentiate clerics who choose different domains. 

Dualism 

A dualistic religion views the world as the stage for 
a conflict between two diametrically opposed deities 
or divine forces. Most often, the opposed forces are 
good and evil, or opposed deities representing those 
forces. In some pantheons, the forces or deities of law 
and chaos are the fundamental opposites in a dualistic 
system. Life and death, light and darkness, matter and 
spirit, body and mind, health and illness, purity and 
defilement, positive energy and negative energy—the 
D&D universe is full of polar opposites that could serve 
as the foundation for a dualistic religion. Whatever the 
terms in which the dualism is expressed, half of the pair 
is usually believed to be good—beneficial, desirable, 
or holy—while the other half is considered bad. if not 
explicitly evil. If the fundamental conflict in a religion is 
expressed as the opposition between matter and spirit, 
the followers of that religion believe that one of the two 
(usually matter) is evil and the other (spirit) is good, and 


so seek to liberate their spirits from this material world 
and its evils through asceticism and contemplation. 

Rare dualistic systems believe that the two opposing 
forces must remain in balance, always pulling away 
from each other but remaining bound together in 
creative tension. 

In a cosmology defined by an eternal conflict between 
good and evil, mortals are expected to take sides. The 
majority of those who follow a dualistic religion worship 
the deity or force identified as good. Worshipers of 
the good deity trust themselves to that god’s power to 
protect them from the evil deity’s minions. Because 
the evil deity in such a religion is usually the source 
of everything that is detrimental to existence, only the 
perverse and depraved worship this god. Monsters 
and fiends serve it, as do certain secretive cults. The 
myths of a dualistic religion usually predict that the 
good deity will triumph in an apocalyptic battle, but the 
forces of evil believe that the outcome of that battle isn't 
predetermined and work to promote their deity’s victory. 

Deities in a dualistic system maintain large portfolios. 
All aspects of existence reflect the dualistic struggle, 
and therefore all things can fall on one side or the other 
of the conflict. Agriculture, mercy, the sky, medicine, 
and poetry reside in the portfolio of the good deity, and 
famine, hatred, disease, and war belong to the evil deity. 

Animism 

Animism is the belief that spirits inhabit every part of 
the natural world. In an animistic worldview, everything 
has a spirit, from the grandest mountain to the lowliest 
rock, from the great ocean to a babbling brook, from the 
sun and moon to a fighter’s ancestral sword. All these 
objects, and the spirits that inhabit them, are sentient, 
though some are more aware, alert, and intelligent 
than others. The most powerful spirits might even 
be considered deities. All are worthy of respect if not 
veneration. 

Animists don’t typically pay allegiance to one spirit 
over the others. Instead, they offer prayers and sacrifices 
to different spirits at different times, as appropriate 
to the situation. A pious character might make daily 
prayers and offerings to ancestor spirits and the spirits 
of the house, regular petitions to important spirits 
such as the Seven Fortunes of Good Luck, occasional 
sacrifices of incense to location spirits such as the 
spirit of a forest, and sporadic prayers to a host of other 
spirits as well. 

An animistic religion very tolerant. Most spirits don’t 
care to whom a character also offers sacrifices, as long 
as they receive the sacrifices and respect they are due. 
As new religions spread through animist lands, those 
religions typically win adherents but not converts. 

People incorporate new spirits and deities into their 
prayers without displacing the old ones. Contemplatives 
and scholars adopt complex philosophical systems and 
practices without changing their belief in and respect 
for the spirits they already venerate. 

Animism functions as a large tight pantheon. Animist 
clerics serve the pantheon as a whole, and so can 
choose any domain, representing a favorite spirit for 
that cleric. 


CHAPTER 1 


A WORLD OF YOUR OWN 









Humanoids and the Gods 


Forces and Philosophies 

Not all divine powers need to be derived from deities. 

In some campaigns, believers hold enough conviction 
in their ideas about the universe that they gain magical 
power from that conviction. In other campaigns, 
impersonal forces of nature or magic replace the gods 
by granting power to mortals attuned to them. Just as 
druids and rangers can gain their spell ability from the 
force of nature rather than from a specific nature deity, 
some clerics devote themselves to ideals rather than to 
a god. Paladins might serve a philosophy of justice and 
chivalry rather than a specific deity. 

Forces and philosophies aren’t worshiped; they aren't 
beings that can hear and respond to prayers or accept 
sacrifices. Devotion to a philosophy or a force isn’t 
necessarily exclusive of service to a deity. A person can 
be devoted to the philosophy of good and offer worship 
to various good deities, or revere the force of nature 
and also pay homage to the gods of nature, who might 
be seen as personal manifestations of an impersonal 
force. In a world that includes deities with demonstrable 
power (through their clerics), it’s unusual for a 
philosophy to deny the existence of deities, although a 
common philosophical belief states that the deities are 
more like mortals than they would have mortals believe. 
According to such philosophies, the gods aren't truly 
immortal (just very long-lived), and mortals can attain 
divinity. In fact, ascending to god hood is the ultimate 
goal of some philosophies. 

The power of a philosophy stems from the belief that 
mortals invest in it, A philosophy that only one person 
believes in isn't strong enough to bestow magical power 
on that person. 


When it comes to the gods, humans exhibit a far wider 
range of beliefs and institutions than other races do. In 
many D&D settings, ores, elves, dwarves, goblins, and 
other humanoids have tight pantheons. It is expected 
that an ore will worship Gruumsh or one of a handful of 
subordinate deities. In comparison, humanity embraces 
a staggering variety of deities. Each human culture 
might have its own array of gods. 

In most D&D settings, there is no single god that 
can claim to have created humanity. Thus, the human 
proclivity for building institutions extends to religion, 

A single charismatic prophet can convert an entire 
kingdom to the worship of a new god. With that 
prophet's death, the religion might wax or wane, or the 
prophet's followers might turn against one another and 
found several competing religions. 

In comparison, religion in dwarven society is set in 
stone. The dwarves of the Forgotten Realms identify 
Moradin as their creator. While individual dwarves 
might follow' other gods, as a culture the dwarves are 
pledged to Moradin and the pantheon he leads. His 
teachings and magic are so thoroughly ingrained in 
dwarven culture that it would take a cataclysmic shift to 
replace him. 

With that in mind, consider the role of the gods in 
your world and their ties to different humanoid races. 
Does each race have a creator god? How does that god 


shape that race's culture? Are other folk free of such 
divine ties and free to worship as they w ish? Has a race 
turned against the god that created it? Has a new race 
appeared, created by a god within the past few years? 

A deity might also have ties to a kingdom, noble 
line, or other cultural institution. With the death of 
the emperor, a new ruler might be selected by divine 
portents sent by the deity who protected the empire in 
its earliest days. In such a land, the worship of other 
gods might be outlawed or tightly controlled. 

Finally, consider the difference between gods who 
are tied to specific humanoid races and gods with 
more diverse followers. Do the races with their own 
pantheons enjoy a place of privilege in your world, with 
their gods taking an active role in their affairs? Are the 
other races ignored by the gods, or are those races the 
deciding factor that can tilt the balance of power in favor 
of one god or another? 


CHAPTER i 


A 1 V r ORLD OF YOUR OWN 








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Kingdom Scale 


Mapping Your Campaign 


When creating the world where your campaign takes 
place, you'll want a map. You can take one of two 
approaches with it: top-down or bottom-up. Some DMs 
like to start at the top, creating the big picture of the 
world at the start of the campaign by having a map 
that shows whole continents, and then zooming in on 
smaller areas. Other DMs prefer to go the opposite 
direction, starting with a small campaign area that is 
mapped at a province or kingdom scale, then zooming 
out as adventures take the characters into new territory* 
Whichever approach you take, hexes work well for 
mapping outdoor environments where travel can go 
in any direction and calculating distance might be 
important. A single sheet of hex paper with 5 hexes to 
the inch is ideal for most maps. Use a scale for your map 
that's best suited to the level of detail you want* Chapter 
7 offers more information about creating and mapping 
wilderness areas. 


On a kingdom-scale map, each hex represents 6 miles* 

A map at this scale covers a large region, about the size 
of Great Britain or half the size of the state of California. 
That's plenty of room for adventuring. 

The first step of mapping a region at this scale is to 
sketch out the coastlines and any major bodies of water 
in the area. Is the region landlocked or on a coast? A 
coastal region might include islands offshore, and a 
landlocked area might include an inland sea or major 
lakes. Alternatively, the region could consist of a single 
large island, or an isthmus or peninsula w ith multiple 
coastlines. 

Next, sketch in any major mountain ranges* Foothills 
form a transition between the mountains and lowlands* 
and broad patches of gentle hills might dot the region. 

That leaves the rest of your map for relatively flat 
terrain: grasslands, forests, swamps, and the like* Place 
these elements as you see fit. 

Map out the courses of any rivers that flow through 
the area. Rivers are born in mountains or inland areas 
that see a lot of rainfall, winding down to the nearest 
major body of water that doesn't require the river to 
cross over higher elevation. Tributaries join rivers as 
they grow larger and move toward a lake or the sea* 
finally, place the major towns and cities of the region. 
At this scale, you don’t need to worry about small towns 
and villages, or about mapping every belt of farmland. 
Even so, a settled region this size might easily have 
eight to t welve cities or towns to put on the map* 

Continent Scale 


Province Scale __ 

For the most detailed areas of your world, use a 
province scale where each hex represents 1 mile. A 
full-page map at this scale represents an area that 
can be covered in one day s travel in any direction 
from the center of the map, assuming dear terrain. As 
such, province scale is a useful scale for mapping a 
campaign's starting area (see "Creating a Campaign/' 
later in this chapter) or any location where you expect 
to track the adventurers' movement in hours rather 
than days* 

The ground cover of an area this size will include 
broad stretches of one predominant terrain type, broken 
up by other isolated terrain types. 

A settled region mapped at this scale might have one 
town and eight to twelve villages or farming hamlets, 

A wilder region might have only a single keep, or no 
settlements at all* You can also indicate the extent of 
the cleared farmland that surrounds each city or town* 
On a province-scale map, this will show as a belt a few 
hexes wide surrounding each town or village. Even 
small villages farm most of the arable land within a 
mile or two. 


For mapping a whole continent, use a scale where 
1 hex represents 60 miles* At this scale, you can t 
see more than the shape of coastlines, the biggest 
mountain ranges, major rivers, huge lakes, and political 
boundaries. A map at this scale is best for showing how 
multiple kingdom-scale maps fit together* rather than 
tracking the movement of adventurers day by day* 

The same process you use for mapping a region at 
kingdom scale works for mapping a whole continent, 

A continent might have eight to twelve large cities that 
deserve a place on the map, most likely major trade 
centers and the capitals of kingdoms. 

Combining Scales 

Whichever scale you start with, it's easy to zoom in or 
out on your maps. At continent scale. I hex represents 
the same area as 10 kingdom-scale hexes. Two cities 
that are 3 hexes (180 miles) apart on your continent 
map would be 30 hexes apart on your kingdom map, 
and might define the opposite ends of the region you’re 
detailing* At kingdom scale, 1 hex equals 6 province- 
scale hexes, so it’s easy to put the region covered by your 
province-scale map into the center of a kingdom-scale 
map and create interesting areas around it. 


CliA 



A WORLD or YOUR OWN 



























Settlements 

The places where people live-hustling cities, 
prosperous towns, and tiny villages nestled among 
miles of farmland—help define the nature of civilization 
in your world* A single settlement—a home base for 
your adventurers—is a great place to start a campaign 
and begin your world building. Consider the following 
questions as you create any settlement in your world: 

* What purpose does it serve in your game? 

« How big is it? Who lives there? 

* What does it look, smell, and sound like? 

* Who governs it? Who else holds power? Is it part 
of a larger state? 

- What arc its defenses? 

- Where do characters go to find the goods and services 
they need? 

* What temples and other organizations feature 
prominently? 

* What fantastic elements distinguish it from an 
ordinary town? 

* Why should the characters care about the settlement? 

The guidelines in this section are here to help you build 
the settlement you want for whatever purpose you have 
in mind. Disregard any advice here that runs counter to 
your vision for a settlement. 

Purpose 

A settlement exists primarily to facilitate the story 
and fun of your campaign. Other than that point, the 
settlement's purpose determines the amount of detail 
you put into it. Create only the features of a settlement 
that you know youTl need, along with notes on general 
features. Then allow the place to grow organically as the 
adventurers interact with more and more of it, keeping 
notes on new places you invent. 

Local Color 

A settlement might serve as a place where the 
characters stop to rest and to buy supplies. A settlement 
of this sort needs no more than a brief description. 
Include the settlement's name, decide how big it is, 
add a dash of flavor (“The smell of the local tanneries 
never lifts from this town 1 *), and let the adventurers get 
on with their business. The history of the inn where 
the characters spend the night, the mannerisms of the 
shopkeeper they buy supplies from—you can add this 
level of detail but you dont have to. If the characters 
return to the same settlement, start adding these local 
features so that it begins to fee! a little more like a home 
base, albeit a temporary one. Let the settlement develop 
as the need arises. 

Home Base 

A settlement gives the adventurers a place to live, 
train, and recuperate between adventures. An entire 
campaign can center on a particular town or city. 

Such a settlement is the launching pad from which the 
characters go out into the wider world. 

Designed well a home base can hold a special place 
in the adventurers' hearts, particularly if they care about 
one or more NPCs who live there. 






























To make a home base come alive, yoiill need to 
invest some time fleshing out details, but the players 
can help you with that work. Ask them to tell you a bit 
about mentors, family members, and other important 
people in their characters lives. Feel free to add to and 
modify what they give you, but you'll start with a solid 
foundation of the nonplayer characters (MFCs) who are 
important to the characters. Let the players describe 
where and how their characters spend their time—a 
favorite tavern, library, or temple, perhaps. 

Using these MFCs and locations as a starting point, 
flesh out the settlement s cast of characters. Detail 
its leadership, including law enforcement (discussed 
later in the chapter). Include characters who can 
provide information, such as sages, soothsayers, 
librarians, and observant vagabonds. Priests can 
provide spellcasting as well as information. Make note 
of merchants who might regularly interact with the 
adventurers and perhaps compete with one another for 
the party’s business. Think about the people who run 
the adventurers' favorite tavern. And then add a handful 
of wild cards; a shady dealer, a mad prophet, a retired 
mercenary, a drunken rake, or anyone else who adds a 
dash of adventure and intrigue to your campaign. 

Adventure Site 

A village harboring a secret cult of devil worshipers. A 
town controlled by a guild of wererats, A city conquered 
by a hobgoblin army. These settlements aren't merely 
rest stops but locations where adventures unfold. In 
a settlement that doubles as an adventure location, 
detail the intended adventure areas, such as towers 
and warehouses. For an event-based adventure, note 
the NFCs who play a part in the adventure. This 
work is adventure preparation as much as it is world 
building, and the cast of characters you develop for 
your adventure—including allies, patrons, enemies, and 
extras—can become recurring figures in your campaign. 

Size 

Most settlements in a D&D world are villages clustered 
around a larger town or city. Farming villages supply the 
town or city population with food in exchange for goods 
the farmers can't produce themselves. Towns and cities 
are the seats of the nobles who govern the surrounding 
area, and who carry the responsibility for defending the 
villages from attack. Occasionally, a local lord or lady 
lives in a keep or fortress with no nearby town or city. 

Village 

Population: Up to about LOGO 

Government: A noble (usually not a resident) rules the 
village, with an appointed agent (a reeve) in residence 
to adjudicate disputes and collect taxes. 

Defense: The reeve might have a small force of soldiers. 

Otherwise, the village relies on a citizen militia. 
Commerce: Basic supplies are readily available, 
possibly from an inn or a trading post. Other goods 
are available from traveling merchants. 
Organizations: A village might contain one or two 
temples or shrines, but few or no other organizations. 














Most settlements are agricultural villages, supporting 
hemselves and nearby towns or cities with crops and 
meat. Villagers produce food in one way or another— if 
: t by tending the crops, then supporting those who do 
by shoeing horses, weaving clothes, milling grain, and 
:he like. The goods they produce feed their families and 
s j pp 1 y trad e w i t h ne a rby se111 e men ts. 

A village’s population is dispersed around a large area 
f land. Farmers live on their land, which spreads them 
widely around the village center. At the heart of the 
village, a handful of structures duster together: a well, 
a marketplace, a small temple or two, a gathering place, 
and perhaps an inn for travelers. 

Town 

Population: Up to about 6.000 

Government; A resident noble rules and appoints a lord 
mayor to oversee administration. An elected town 
council represents the interests of the middle class. 
Defense: The noble commands a sizable army of 
professional soldiers, as well as personal bodyguards. 
Commerce: Basic supplies are readily available, though 
exotic goods and services are harder to find. Inns and 
taverns support travelers. 

Organizations: The town contains several temples, 
as well as various merchant guilds and other 
organizations. 

Towns are major trade centers, situated where important 
industries and reliable trade routes enabled the 
population to grow. These settlements rely on commerce: 
the import of raw materials and food from surrounding 
villages, and the export of crafted items to those villages, 
ns well as to other towns and cities. A towns population 
is more diverse than that of most villages. 

Towns arise where roads intersect waterways, at the 
meeting of major land trade routes, around strategic 
defensive locations, or near significant mines or similar 
natural resources. 

City 

Population: Up to about 25,000 
Government: A resident noble presides, with several 
other nobles sharing responsibility for surrounding 
areas and government functions. One such noble is 
the lord mayor, who oversees the city administration. 
An elected city council represents the middle class 
and might hold more actual power than the lord 
mayor. Other groups serve as important power 
centers as well. 

Defense: The city supports an army of professional 
soldiers, guards, and town watch. Each noble in 
residence maintains a small force of personal 
bodyguards. 

Commerce: Almost any goods or services are readily 
available. Many inns and taverns support travelers. 
Organizations: A multitude of temples, guilds, and 
other organizations, some of which hold significant 
power in city affairs, can be found within the 
city's walls. 

Tines are cradles of civilization. Their larger 
populations require considerable support from both 
surrounding villages and trade routes, so they’re rare. 


Cities typically thrive in areas where large expanses 
of fertile, arable land surround a location accessible to 
trade, almost always on a navigable waterway. 

Cities almost always have walls, and the stages of a 
city's growth are easily identified by the expansion of 
the walls beyond the central core. These internal walls 
naturally divide the city into wards (neighborhoods 
defined by specific features), which have their own 
representatives on the city council and their own noble 
administrators. 

Cities that hold more than twenty-five thousand people 
are extremely rare. Metropolises such as Waterdeep in 
the Forgotten Realms. Sham in Eberron, and the Free 
City of Grey hawk stand as vital beacons of civilization in 
the D&D worlds. 

Atmosphere 

What do the adventurers first notice as they approach 
or enter a settlement? The towering wall bristling 
with soldiers? The beggars with hands outstretched, 
pleading for aid outside the gate? The noisy hubbub of 
merchants and buyers thronging the marker square? 

The overpowering stench of manure? 

Sensory details help bring a settlement to life and 
vividly communicate its personality to your players. 
Settle on a single defining factor that sums up a 
settlement’s personality and extrapolate from there. 
Maybe a city is built around canals, like real-world 
Venice, That key element suggests a wealth of sensory 
details: the sight of colorful boats floating on muddy 
waters, the sound of lapping waves and perhaps singing 
gondoliers, the smells offish and waste polluting 
the water, the feel of humidity. Or perhaps the city is 
shrouded in fog much of the time, and you describe the 
tendrils of cold mist reaching through every crack and 
cranny, the muffled sounds of hooves on cobblestones, 
the cold air with the smell of rain, and a sense of 
mystery and lurking danger. 

The climate and terrain of a settlement's environment, 
its origin and inhabitants, its government and political 
position, and its commercial importance all have a 
bearing on its overall atmosphere. A city nestled against 
the edge of a jungle has a very different feel than one 
on the edge of a desert. Elf and dwarf cities present 
a distinct aesthetic, clearly identifiable in contrast to 
human-built ones. Soldiers patrol the streets to quell 
any hint of dissent in a city ruled by a tyrant, while a city 
fostering an early system of democracy might boast an 
open-air market where philosophical ideas are traded as 
freely as produce. All the possible combinations of these 
factors can inspire endless variety in the settlements of 
your campaign world. 

Government _ 

In the feudal society common in most D&D worlds, 
power and authority are concentrated in towns and 
cities. Nobles hold authority over the settlements 
where they live and the surrounding lands. They collect 
taxes from the populace, which they use for public 
building projects, to pay the soldiery, and to support a 
comfortable lifestyle for themselves (although nobles 


CHAPTER l I A WORLD OF VO U R OWN 










often have considerable hereditary wealth)* In exchange, 
they promise to protect their citizens from threats 
such as ore marauders, hobgoblin armies* and roving 
human bandits. 

Nobles appoint officers as their agents in villages, to 
supervise the collection of taxes and serve as judges 
in disputes and criminal trials. These reeves, sheriffs, 
or bailiffs are commoners native to the villages they 
govern, chosen for their positions because they already 
hold the respect of their fellow citizens. 

Within towns and cities, lords share authority and 
administrative responsibility with lesser nobles (usually 
their own relatives), and also with representatives of 
the middle class, such as traders and artisans. A lord 
mayor of noble birth is appointed to head the town or 
city council and to perform the same administrative 
functions that reeves carry out in villages. The council 
consists of representatives elected by the middle class. 
Only foolish nobles ignore the wishes of their councils, 
since the economic power of the middle class is often 
more important to the prosperity of a town or city than 
the hereditary authority of the nobility. 

The larger a settlement, the more likely that other 
individuals or organizations hold significant power 
there as well. Even in a village, a popular individual—a 
wise elder or a well-liked farmer—can wield more 
influence than the appointed reeve, and a wise reeve 
avoids making an enemy of such a person. In towns 
and cities, the same power might lie in the hands of a 
prominent temple, a guild independent of the council, or 
an individual with magical power. 

Forms of Government 

A settlement rarely stands alone. A given town or city 
might be a theocratic city-state or a prosperous free city 
governed by a merchant council. More likely, it s part of 
a feudal kingdom, a bureaucratic empire, or a remote 
realm ruled by an iron-fisted tyrant. Consider how your 
settlement fits into the bigger picture of your w r or]d or 
region—who rules its ruler, and what other settlements 
might also lie under its control. 


Forms of Government 


dlOO 

Government 

dlOO 

Government 

01-08 

Autocracy 

59-64 

Militocracy 

09-13 

Bureaucracy 

65-74 

Monarchy 

14-19 

Confederacy 

75-78 

Oligarchy 

20-22 

Democracy 

79-80 

Patriarchy 

23-27 

Dictatorship 

81-83 

Meritocracy 

28-42 

Feudalism 

84-85 

Plutocracy 

43-44 

Gerontocracy 

86-92 

Kepubhc 

45-53 

Hierarchy 

93-94 

Satrapy 

54-56 

Magocracy 

95 

Kleptocracy 

57-58 

Matriarchy 

96-00 

Theocracy 


Typical and fantastical forms of government are 
described below. Choose one or randomly determine a 
form of government for a nation or city from the Forms 
of Government table. 


Autocracy, One hereditary ruler wields absolute 
power* f he autocrat either is supported by a well- 
developed bureaucracy or military or stands as the 
only authority in an otherwise anarchic society. The 
dynastic ruler could be immortal or undead* Aundair 
and Karrnath, two kingdoms in the Eberron campaign 
setting, have autocrats with royal blood in their veins* 
Whereas Queen Aurala of Aundair relies on wizards 
and spies to enforce her will, Kaius, the vampire king of 
Karrnath, has a formidable army of living and undead 
soldiers under his command. 

Bureaucracy, Various departments compose the 
government, each responsible for an aspect of rule* The 
department heads, ministers* or secretaries answer to a 
figurehead autocrat or council. 

Confederacy. Each individual city or town within 
the confederacy governs itself, but all contribute to a 
league or federation that promotes (at least in theory) 
the common good of all member states. Conditions and 
attitudes toward the central government vary from place 
to place within the confederacy. The Lords' Alliance in 
the Forgotten Realms setting is a loose confederacy of 
cities, while the Mror Holds in the Eberron campaign 
setting is a confederacy of allied dwarf clans. 

Democracy. Citizens or their elected representatives 
determine the laws in a democracy, A bureaucracy or 
military carries out the day-to-day work of government, 
with positions filled through open elections. 

Dictatorship. One supreme ruler holds absolute 
authority, but his or her rule isn't necessarily dynastic. 

In other respects this resembles an autocracy* In the 
Grey hawk campaign setting, a half-demon named Iuz is 
the dictator of a conquered land that bears his name. 

Feudalism. The typical government of Europe in 
the Middle Ages, a feudal!Stic society consists of layers 
of lords and vassals. The vassals provide soldiers or 
scutage (payment in lieu of military service) to the lords, 
who in turn promise protection to their vassals. 

Gerontocracy. Elders preside over this society. In 
some cases, long-lived races such as elves or dragons 
are entrusted with the leadership of the land. 

Hierarchy, A feudal or bureaucratic government 
where every member, except one, is subordinate to 
another member. In the Dragon la nee campaign setting, 
the dragonarmies of Krynn Form a military hierarchy, 
with the Dragon High lords as leaders under the dragon 
queen Takhists. 

Kleptocracy, This government is composed of groups 
or individuals primarily seeking wealth for themselves, 
often at the expense of their subjects. The grasping 
Bandit Kingdoms in the Grey hawk campaign setting 
are prime examples* A kingdom run by thieves guilds 
would also fall into this category. 

Magocracy, The governing body is composed of 
spellcasters who rule directly as oligarchs or feudal 
lords, or participate in a democracy or bureaucracy. 
Examples include the Red Wizards of Thay in the 
Forgotten Realms campaign setting and the sorcerer- 
kings of Athas in the Dark Sun campaign setting. 

Matriarchy or Patriarchy. This society is governed 
by the eldest or most important members of one gender* 
Drow cities arc examples of theocratic matriarchies, for 


CHAPTER 1 | A WORLD OF YOUR OWN 
















each is ruled by a council of drow high priestesses who 
answer to Lo!th, the Demon Queen of Spiders, 
Meritocracy* The most intelligent and educated 
people oversee the society, often w ith a bureaucracy 
10 handle the day-to-day work of government. In the 
Forgotten Realms, scholarly monks preside over the 
fortress-library of Candlekeep, overseen by a master of 
lore called the Keeper, 

Militocraey* Military leaders run the nation under 
martial law', using the army and other armed forces, A 
militocraey might be based on an elite group of soldiers, 
an order of dragon riders, or a league of sea princes. 
Solamnia, a nation ruled by knights in the Dragon lance 
campaign setting, falls into this category. 

Monarchy . A single hereditary sovereign wears the 
town. Unlike the autocrat, the monarch’s powers are 
limited by law, and the ruler serves as the head of a 
democracy, feudal state, or militocraey. The kingdom 
l Breland, in the Eberron campaign setting, has both 
a parliament that makes laws and a monarch who 
enforces them. 

Oligarchy ; A small number of absolute rulers share 
power, possibly dividing the land into districts or 
provinces under their control, or jointly ruling together. 
A group of adventurers who take control of a nation 
together might form an oligarchy. The Free City of 
reyhawk is an oligarchy composed of various faction 
f-aders, with a Lord Mayor as its figurehead. 

Plutocracy ; Society is governed by the wealthy. The 
[ i te form a r u 1 i n g cou nc 11. pu rob a s e re prese n t at ton a t 
he court of a figurehead monarch, or rule by default 
"cause money is the true power in the realm. Many 
c ities in the Forgotten Realms campaign setting, 
including Waterdeep and Baldurs Gate, are plutocracies. 

Republic . Government is entrusted to representatives 
if an established electorate who rule on behalf of the 
electors. Any democracy in which only landowners or 
ertain classes can vote could be considered a republic. 
Satrapy . Conquerors and representatives of another 
government wield power, ruling the settlement or region 
<s part of a larger empire. The satraps are bureaucrats 
md military officers, or unusual characters or monsters. 
The cities of Highport and Suderham in the Greyhawk 
campaign setting are satrapies controlled by agents of a 
vicious gang of marauders known as the Slave Lords. 
Theocracy , Rulership falls to a direct representative 
r a collection of agents of a deity. The centers of power 
n a theocracy are usually located on sacred sites. In 
he Eberron campaign setting, the nation of Thrane is 
i theocracy devoted to the Silver Flame, a divine spirit 
that resides in Thranes capital of Flamekeep. 


Sample Hierarchy of Noble Titles 


Rank 

Title 

Rank 

Title 

1st 

Emperor/Empress 

7th 

Viscount/ 

2nd 

King/Queen 


Viscountess 

3rd 

Duke/Duchess 

8th 

Baron/Baroness 

4th 

Prince/Prlncess 

9th 

Baronet 

5th 

Marquess/Marquise 

10th 

Knight 

6 th 

Earl or Count/ 




Countess 


Commerce 

Even small villages can provide characters access to the 
gear they need to pursue their adventures. Provisions, 
tents, backpacks, and simple weapons are commonly 
available. Traveling merchants carry armor, martial 
weapons, and more specialized gear. Most villages have 
inns that cater to travelers, where adventurers can find 
a hot mea! and a bed, even if the quality leaves much to 
be desired. 

Villages rely heavily on trade with other settlements, 
including larger towns and cities. Merchants pass 
through regularly, selling necessities and luxuries to the 
villagers, and any successful merchant has far-reaching 
contacts across the region. Traveling merchants pass 
on gossip and adventure hooks to the characters as 
they conduct their business. Since merchants make 
their living traversing roads that might be menaced 
by bandits or wandering monsters, they hire guards to 
keep their goods safe. They also carry news from town 
to town, including reports of situations that cry out for 
the attention of adventurers. 

These merchants can't provide the services normally 
found in a city. For instance, when the characters are in 
need of a library or a dedicated sage, a trainer who can 
handle the griffon eggs they've found, or an architect to 
design their castle, they're better off going to a large city 
than looking in a village. 

Cur rency _ 

The straightforward terms “gold piece" (gp), “silver 
piece'' (sp), “copper piece” (cp), “electrum piece" (ep), 
and “platinum piece 7 ' (pp) are used throughout the game 
rules for clarity. You can imbue these denominations 
wdth more interesting descriptions in your game 
world. People give coins specific names, whether 
as plain as “dime" or lively as “gold double-eagle.'' A 
country typically mints its own currency, which might 
correspond to the basic rules terms. In most worlds, few 
currencies achieve widespread distribution, but nearly 
all coins are accepted worldwide-^except by those 
looking to pick a fight with a foreigner 

Example: The Forgotten Realms 
The world of the Forgotten Realms provides an 
extensive example of currencies. Although barter, 
blood notes, and similar letters of trade are common 
enough in Faerfin, metal coins and trade bars are the 
everyday currency. 

Common Coinage . Goins appear in a bewildering 
variety of shapes, sizes, names, and materials. Thanks 
to the ambitious traders of Sembia, that nation’s oddly 
shaped coins can be found throughout Faerfin. In 
Sembia, square iron steelpence replace copper coins. 
Triangular silver pieces are ravens, diamond-shaped 
electrum pieces are harm arks (commonly called “blue 
eyes”), and five-sided gold pieces are nobles. Sembia 
doesn’t mint platinum coins. All coinage is accepted 
in Sembia, including copper and platinum pieces 
from abroad. 

In Waterdeep, the bustling cosmopolitan center 
of trade, coppers are called nibs, silvers are shards. 


CH APTERl i A WORLD OF YOUR GWN 




electrum pieces are moons* gold pieces are dragons, 
and platinum coins are suns* The city's two local coins 
are the toal and the harbor moon* The toal is a square 
brass trading-coin pierced with a central hole to permit 
it to be easily strung on a ring or string, worth 2 gp in 
the city and nothing outside Waterdeep. The harbor 
moon is a flat crescent of platinum with a central 
hole and an electrum inlay* named for its traditional 
use in the docks for buying large amounts of cargo at 
once* The coin is worth 50 gp in Waterdeep and 30 gp 
elsewhere. 

The northern city of Silvery moon mints a crescent- 
shaped, shining blue coin called an electrum moon, 
worth 1 gp in that city and 1 ep elsewhere. The city also 
issues a larger coin called an eclipsed moon* which 
looks like an electrum moon combined a darker silver 
wedge to form a round coin worth 5 ep within the city 
and 2 ep outside it* 

The favored form of currency in the kingdom of 
Cor my r is the royal coinage of the court* stamped with 
a dragon on one side and a treasury date mark on the 
other. There* coppers are called thumbs* silvers are 
silver falcons, electrum pieces are blue eyes, gold pieces 
are golden lions, and platinum coins are tricrowns. 

Even city-states mint their own copper, silver* and gold 
pieces* Electrum and platinum pieces are rarer in these 
lands. Smaller states use coinage borrowed from other 
nations and looted from ancient sources. Travelers from 
certain lands (notably the wizard-dominated realms of 
Thay and Halruaa) use the currencies of other realms 
when trading abroad because their own coins and 
tokens are feared to be magically cursed* and so are 
shunned by others. 

Conversely* the coins of long-lost, legendary lands 
and centers of great magic are honored, though those 
who hnd them are wise to sell them to collectors rather 
than merely spending them in markets. The coins of the 
old elven court of Cormanthyr are particularly famous: 
thalvers (coppers), bedoars (silvers), thammarchs 
(electrum), shilmaers (golds), and ruendils (platinum). 
These coins are fine, numerous* and sometimes still 
used in trade among elves. 




SlLVlrR Cqlm 


Copper Cosn 


Electrum Coin 



Platimum Coin 


Trade Bars . Large numbers of coins can be difficult 
to transport and account for. Many merchants prefer 
to use trade bars—ingots of precious metals and alloys 
(usually silver) likely to be accepted by virtually anyone. 
Trade bars are stamped or graven with the symbol of the 
trading company or government that originally crafted 
them. These bars are valued by weight, as follows: 

* A 2-pound silver bar is worth 10 gp and is about 5 
inches long. 2 inches wide, and 12 inch thick, 

* A 5-pound silver bar is worth 25 gp and is about 6 
inches long, 2 inches wide* and 1 inch thick, 

* A 5-pound gold bar is worth 250 gp and is about the 
size of a 2-pound silver bar. 

The city of Baidur's Gale mints large numbers of 
silver trade bars and sets the standard for this form of 
currency. The city of Mirabar issues black iron spindle- 
shaped trade bars with squared ends weighing about 
2 pounds each, worth 10 gp in that city, markedly less 
in nearby trade centers* and as iron is normally valued 
elsewhere (1 sp per pound). 

Odd Currency. Coins and bars aren't the only forms 
of hard currency. Gond bells are small brass bells worth 
10 gp in trade, or 20 gp to a temple of Gond, Shaar 
rings, pierced and polished slices of ivory threaded 
onto strings by the nomads of the Shaar* are worth 3 gp 
per slice. 

Creating Your Own 

As shown in the previous examples, currency doesn t 
need to obey a universal standard in your world. Each 
country and era can have its own coins with its own 
values. Your adventurers might travel through many 
different lands and find long-lost treasures. Finding 
- six hundred ancient bedoars from the rule of Coronal 
Ekargrim twelve centuries before offers a deeper sense 
of immersion in your world than finding 60 sp* 

Varying names and descriptions of coins for the 
major contemporary and historical realms of your world 
adds an additional layer of texture. The golden lions of 
Cormyr convey the noble nature of that kingdom. If a 
nation mints gold coins stamped with leering demonic 
faces and called torments, that currency expresses a 
distinct flavor. 

Creating new coins connected to specific locations* 
like the toals of Waterdeep or the eclipsed moons of 
Silvery moon, provides another level of detail. As long as 
you keep the value of these new coins simple (in other 
words* don't invent a coin worth T62 gp), you add local 
flavor to key locations in your world without adding 
undue complexity* 

Languages and Dialects 

When fleshing out your world, you can create new 
languages and dialects to reflect its unique geography 
and history. You can replace the default languages 
presented in the Players Handbook with new ones, or 
split languages up into several different dialects. 

In some worlds, regional differences might be much 
more important than racial ones. Perhaps all the 
dwarves, elves, and humans who live in one kingdom 
speak a common language, which is completely different 


C HA PI ER l i A WORLD Or YOUR OWN 















i 


% 



Hampers 


Order of the Gauntlet 


Emerald Enclave 


Lords' ^Alliance 


Zhentarim 


from that spoken in the neighboring kingdom. This 
light make communication (and diplomacy) between 
two kingdoms significantly more difficult. 

Widely used languages might have ancient versions. 

: there might be completely different ancient tongues 
:hat adventurers find written in tombs and ruins. Such 
languages can add an element of mystery to inscriptions 
nd tomes that characters encounter. 

You might invent additional secret languages, besides 
Druidic and thieves' cant, that allow members of certain 
rganizations or political affiliations to communicate. 
You could even decide that each alignment has its 
iwn language, which might be more of an argot used 
ri manly to discuss philosophical concepts. 

In a region where one race has subjugated another. 

:he language of the conquerors can become a mark of 
social status. Similarly, reading and writing might be 
restricted by law to the upper classes of a society. 


Factions and 


Organizations 


Temples, guilds, orders, secret societies, and 
colleges are important forces in the social order of 
my civilization. Their influence might stretch across 
multiple towns and cities, with or without a similarly 
wide-ranging political authority. Organizations can 
play an important part in the lives of player characters, 

; ecoming their patrons, allies, or enemies just like 
dividual nonplayer characters. When characters join 
these organizations, they become part of something 
arger than themselves, which can give their adventures 
a context in the wider world. 


Adventurers and Organizations 


At the start of a campaign, backgrounds are a great 
way to connect adventurers to your world. As the game 
progresses, though, background ties often become less 
mportant. 

Factions and organizations aimed at player characters 
ire a way to keep higher-level adventurers connected 
:o your world, providing ties to key NPCs and a clear 
agenda beyond individual gain. In the same way, 
villainous organizations create an ongoing sense of 
menace above and beyond the threat of solitary foes. 

Having different characters tied to different factions 
:an create interesting situations at the gaming table, as 
ng as those factions have similar goals and don't work 
r: opposition to one another all the time. Adventurers 


representing different factions might have competing 
interests or priorities while they pursue the same goals. 

Adventurer organizations are also a great source of 
special rewards beyond experience points and treasure. 
Increased standing in an organization has value in and 
of itself, and might also come with concrete benefits 
such as access to an organization's information, 
equipment, magic, and other resources. 


Creating Factions 

Factions and organizations that you create for your 
campaign should grow out of the stories that are 
important to the world. Create organizations that your 
players will want to interact with, whether as allies, 
members, or enemies. 

As a starting point, decide what role you want an 
organization to play in the world. What is it all about? 
What are its goals? Who founded it and why? What do 
its members do? Answering these questions should 


Sample Faction: The Harpers 


The Harpers is a scattered network of spelJcasters and spies 
who advocate equality and covertly oppose the abuse of 
power, magical or otherwise. 

The organization has risen, been shattered, and risen 
again several times. Its longevity and resilience are largely 
due to its decentralized, grassroots, secretive nature, and the 
autonomy of its various members. The Harpers have small 
cells and lone operatives throughout the Forgotten Realms, 
although they interact and share information with one 
another from time to time as needs warrant. The Harpers 7 
ideology is noble, and its members pride themselves on their 
ingenuity and incorruptibility. Harpers don't seek power or 
glory, only fair and equal treatment for all. 

Motto . "Down with tyranny. Fairness and equality for all?' 
Beliefs * The Harpers' beliefs can be summarized as follows: 


* One can never have too much information or arcane 
knowledge. 

* Too much power leads to corruption, and the abuse of 
magic in particular must be closely monitored. 

* No one should be powerless. 


Coats. Gather information throughout Faerun, discern 
the political dynamics within each region, and promote 
fairness and equality by covert means. Act openly as a last 
resort Thwart tyrants and any leader, government, or group 
that grows too powerful. Aid the weak, the poor, and the 
oppressed. 

Typrcu/Quests, Typical Harper quests include securing 
an artifact that would upset the balance of power in a 
region, gathering information on a powerful individual or 
organization, and determining the true intentions of an 
ambitious political figure or evil spellcaster. 


CHATTER I ! A WORLD Oi YOUR OWN 


21 






















give you a good sense of the organization's personality. 
From there, think about typical members. How might 
people describe them? What are the typical members' 
classes and alignments? What personality traits do they 
tend to share? 

Choosing a symbol and a motto for the organization 
is a way of summing up the w ork you've done so far, 

A faction that uses a stag as a symbol probably has a 
very different personality from one that uses a winged 
viper. For a motto, choose not just a message but also 
a tone and style of speech that fits the organization as 
you've defined it. Consider the motto of the Harpers; 
“Down with tyranny. Fairness and equality for all" The 
Harpers have a straightforward message of freedom 
and prosperity. Contrast that with the motto of a 
group of politically allied cities in the North calling 
themselves the Lords' Alliance; "Threats to home must 
be terminated without prejudice. Superiority is our 
security.' These are sophisticated people involved in 
a delicate political alliance, with more emphasis on 
stability than on fairness and equality. 

Finally, think about the ways that player characters 
might come into contact with the organization. Who 
are the important members—not just the leaders, 
but the agents in the field that the adventurers might 
encounter? Where are they active, and where do they 
have headquarters or strongholds? If adventurers do 
join, what kind of missions might they be sent on? What 
rewards can they gain? 

Renown 

Renown is an optional rule you can use to track an 
adventurer's standing within a particular faction or 
organization. Renown is a numerical value that starts 
at 0, then increases as a character earns favor and 
reputation within a particular organization. You can tie 
benefits to a character's renown, including ranks and 
titles within the organization and access to resources. 

A player tracks renown separately for each 
organization his or her character is a member of. For 
example, an adventurer might have 5 renown within 
one faction and 20 renown within another, based on the 
character's interaction with each organization over the 
course of the campaign. 

Gaining Renown 

A character earns renown by completing missions or 
quests that serve an organization's interests or involve 
the organization directly. You award renown at your 
discretion as characters complete these missions 
or quests, typically at the same lime you award 
experience points. 

Examples of Faction Ranks 


Advancing an organization's interests increases 
a character's renown within that organization by 1. 
Completing a mission specifically assigned by that 
organization, or which directly benefits the organization, 
increases the character’s renown by 2 instead. 

For example, characters with connections to the noble 
Order of the Gauntlet complete a mission in which 
they free a town from the tyranny of a blue dragon. 
Because the order likes to punish evildoers, you might 
increase each character s renown within the order 
by l. Conversely, if killing the dragon was a mission 
given to the adventurers by a senior member of the 
order, completing the task might instead increase each 
character's renown by 2. showing the adventurers as 
effective allies. 

Meanwhile, the party's rogue might have looted a box 
of rare poisons from the dragon's hoard and sold it to 
a fence who is secretly a Zhentarim agent You might 
increase the rogue's renown within the Zhentarim by 2 
since this action directly increased that group's power 
and wealth, even though the task was not assigned by an 
agent of the Zhentarim. 

Benefits of Renown 

The benefits of increasing renown within an 
organization can include rank and authority, friendly 
attitudes from members of the organization, and 
other perks. 

Rank, Characters can earn promotions as their 
renown increases. You can establish certain thresholds 
of renown that serve as prerequisites (though not 
necessarily the only prerequisites) for advancing in 
rank, as shown in the Examples of Faction Ranks table. 
For example, a character might join the Lords' Alliance 
after earning I renown within that organization, gaining 
the title of cloak. As the character s renown within the 
organization increases, he or she might be eligible for 
further increases in rank. 

You can add rank prerequisites. For example, a 
character affiliated with the Lords' Alliance might have 
to be at least 5th level before becoming a stingblade. at 
least 10th level to be a warduke, and at least 15th level 
to be a lioncrown. 

You can set these thresholds of renown to any 
numbers that work for your game, creating appropriate 
ranks and titles for the organizations in your campaign. 

Attitudes of Organization Members* As a character's 
renown within an organization grows, members of 
that organization are increasingly likely to have heard 
of the character. You can set thresholds at which the 
default attitude of an organization’s members toward 
the character becomes indifferent or friendly. For 
example, members of the Emerald Enclave—a faction 


Renown 

Harpers 

Order of the Gauntlet 

Emerald Enclave 

Lord’s Alliance 

Zhentarim 

l 

Watcher 

Chevall 

Sprrngwarden 

Cloak 

Fang 

3 

Harpshadow 

Marcheon 

Summerstrider 

Redknife 

Wolf 

TO 

Srightcandie 

Whttehawk 

Autumn reaver 

Stingblade 

Viper 

25 

Wise Ow! 

Vindicator 

Winterstalker 

Warduke 

Ardragon 

50 

High Harper 

Righteous Hand 

Master of the Wild 

Lioncrown 

Dread Lord 


CH APTER 1 ! A WORLD OF YOU R OWN 









dedicated to preserving the natural order—might be 
less friendly toward characters who have not cultivated 
it least 3 renown within that organization, becoming 
friendly by default only when a character has gained 10 
renown within the Emerald Enclave. These thresholds 
apply only to the default attitude of most members of an 
rganization, and such attitudes aren’t automatic, NFC 
faction members might dislike an adventurer despite 
rhat character's renown—or perhaps because of it 
Perks . Earning a rank within an organization comes 
v. ith certain benefits, as defined by you, A character of 
w rank might gain access to a reliable contact and 
adventure leads, a safe house, ora trader willing to 
her a discount on adventuring gear, A middle-ranked 
haracter might gain a follower (see chapter 4, “Creating 
Xonplayer Characters'), access to potions and scrolls, 

: he ability to call in a favor, or backup on dangerous 
missions, A high-ranking character might be able to 
rail on a small army, take custody of a rare magic item* * 

_ tin access to a helpful spellcaster, or assign special 
missions to members of lower rank. 

Downtime Activities* You might allow characters 
to spend downtime between adventures building 
relationships and gaining renown within an 
rganization. For more information on downtime 
activities, see chapter 6, “Between Adventures.’ 

Losing Renown 

Disagreements with members of an organization 
aren’t enough to cause a loss of renown within that 
; rganization. However, serious offenses committed 
gainst the organization or its members can result 
in a loss of renown and rank within the organization. 

The extent of the loss depends on the infraction and is 
left to your discretion. A character's renown within an 
organization can never drop below 0, 

Piety 

With a few alterations, the renown system can also 
serve as a measure of a character's link to the gods. It's 
- great option for campaigns where the gods take active 
roles in the world. 

Using this approach, you track renown based on 
-pecific divine figures in your campaign. Each character 
has the option to select a patron deity or pantheon with 
_ ials, doctrine, and taboos that you have created. Any 
renown he or she earns is called piety. A character 
_ains piety for honoring his or her gods, fulfilling their 
mmands, and respecting their taboos. A character 
loses piety for working against those gods, dishonoring 
hem, defiling their temples, and foiling their aims. 

The gods bestow favors on those who prove their 
devotion. With each rank of piety gained, a character 
can pray for divine favor once per day. This favor usually 
:omes in the form of a cleric spell like bless . The favor 
: hen comes with a sign of the divine benefactor: for 
example ( a character dedicated to Thor might receive a 
spell accompanied by the boom of thunder, 

A high level of piety can also lead to a character 
gaining a more persistent benefit, in the form of a 
blessing or charm (see chapter 7, "Treasure,’ for such 
supernatural gifts). 


Magic in Your World 

In most D&D worlds, magic is natural but still wondrous 
and sometimes frightening. People everywhere know 
about magic, and most people see evidence of it at some 
point in their lives. It permeates the cosmos and moves 
through the ancient possessions of legendary heroes, 
the mysterious ruins of fallen empires, those touched 
by the gods, creatures born with supernatural power, 
and individuals who study the secrets of the multi verse. 
Histories and fireside tales are filled with the exploits of 
those who wield it. 

What normal folk know of magic depends on where 
they live and whether they know characters who 
practice magic. Citizens of an isolated hamlet might not 
have seen true magic used for generations and speak 
in whispers of the strange powers of the old hermit 
living in the nearby woods. In the city of Waterdeep 
in the Forgotten Realms setting, the Watchful Order 
of Magists and Protectors is a guild of wizards. These 
arcanists wish to make wizardry more accessible so the 
order’s members can profit from selling their services. 

Some D&D settings have more magic in them than 
others. On Athas, the harsh world of the Dark Sun 
setting, arcane magic is a hated practice that can drain 
life from the world. Much of Athas’s magic lies in the 
hands of evildoers. Conversely, in the world of Eberron, 
magic is as commonplace as any other commodity. 
Mercantile houses sell magic items and services to 


Sample Faction: The Zhentarim 

The Zhentarim {also known as the Black Network) is an 
unscrupulous shadow network that seeks to expand its 
influence and power throughout the Forgotten Realms. 

The public face of the Black Network appears relatively 
benign. It offers the best and cheapest goods and services, 
both iegal and illicit, thus destroying its competitors and 
making everyone dependent on it, 

A member of the Zhentarim thinks of himself or herself 
as a member of a very large family and relies on the Black 
Network for resources and security However, members are 
granted the autonomy to pursue their own interests and gain 
some measure of personal wealth and influence. As a whole, 
the Zhentarim promises “the best of the best, 1 ' although 
in truth the organization is more interested in spreading 
its own propaganda and influence than investing in the 
improvement of its individual members. 

Motto , “join us and prosper. Oppose us and suffer/ 1 
Beliefs. The ZhentarinVs beliefs can be summarized 
as follows: 

* The Zhentarim is your family You watch out for it, and it 
watches out for you, 

* You are the master of your own destiny. Never be less than 
what you deserve to be, 

* Everything and everyone has a price. 

Coeds, Amass wealth, power, and influence, and thereby 
dominate Faerun, 

Typical Quests. Typical Zhentarim quests include 
plundering or stealing a treasure hoard, powerful magic item, 
or artifact; securing a lucrative business contract or enforcing 
a preexisting one; and establishing a foothold in a place 

where the Zhentarim holds little sway 

■ ■ 


CHAPTER 1 I A WOULD OF YOUR OWN 




anyone who can afford them. People purchase tickets to 
ride airships and trains propelled by elemental magic. 

Consider these questions when fitting magic into 
your world: 

* Is some magic common? Is some socially 
unacceptable? Which magic is rare? 

- How unusual are members of each spellcasting 
class? How common are those who can cast high- 
level spells? 

* How rare are magic items, magical locations, 
and creatures that have supernatural powers? At 
what power level do these things go from everyday 
to exotic? 

- How do authorities regulate and use magic? How 
do normal folks use magic and protect them¬ 
selves from it? 

The answers to some questions suggest the answers 
to others. For example, if spelicasters of low-level 
spells are common, as in Eberron, then authorities and 
common folk are more likely to have access to and use 
the results of such spells. Buying commonplace magic 
isn't only possible, but also less expensive. People are 
more likely to keep well-known magic in mind, and to 
protect against it, especially in risky situations. 

Restrictions on Magic _ 

Some civilized areas might restrict or prohibit the use 
of magic. Spellcasting might be forbidden without a 
license or official permission. In such a place, magic 
items and continual magical effects are rare, with 
protections against magic being the exception. 

Some localities might prohibit specific spells. It could 
be a crime to cast any spells used to steal or swindle, 
such as those that bestow invisibility or produce 
illusions. Enchantments that charm or dominate others 
are readily outlawed, since they rob their subjects of 
free will. Destructive spells arc likewise prohibited, for 
obvious reasons, A local ruler could have a phobia about 
a specific effect or spell (such as shapeshifting effects if 
he or she were afraid of being impersonated) and enact 
a law restricting that type of magic. 

Schools of Magic _ 

The rules of the game refer to the schools of magic 
(abjuration, illusion, necromancy, and so on), but it’s 
up to you to determine what those schools signify in 
your world. Similarly, a few class options suggest the 
existence of magic-using organizations in the world— 
bardic colleges and druid circles—which are up to you to 
flesh out. 

You could decide that no formal structures like these 
exist in your world. Wizards (and bards and druids) 
might be so rare that a player character learns from a 
single mentor and never meets another character of the 
same class, in which case wizards would learn their 
school specialization without any formal training. 

However, if magic is more common, academies can 
be the embodiments of the schools of magic. These 
institutions have their own hierarchies, traditions, 
regulations, and procedures. For example, Materros 
the necromancer could be a brother of the necromantic 

CHAPTER i | A WORLD OF YOU R OWN 


Cabal of Thar-Zad. As a sign of his high standing w ithin 
its hierarchy, he is allowed to wear the red and green 
robes of a master. Of course, when he wears these 
robes, his occupation is easily identified by those who 
know' of the cabal. This recognition could be a boon or 
a nuisance, since the Cabal of Thar-Zad has a fearsome 
reputation. 

If you go th is route, you can treat schools of magic, 
bardic colleges, and druid circles as organizations, 
using the guidelines for organizations presented earlier 
in this chapter. A player character necromancer might 
cultivate renown within the Cabal of Thar-Zad. while 
a bard seeks increasing renown within the College of 
Mac-Fiiirmidh. 

Teleportation Circles _ 

The presence of permanent teleportation circles in 
major cities helps cement their important place in the 
economy of a fantasy world. Spells such as plane shift, 
teleport , and teleportation circle connect with these 
circles, which are found in temples, academies, the 
headquarters of arcane organizations, and prominent 
civic locations. However, since every teleportation circle 
is a possible means of entry into a city, they're guarded 
by military and magical protection. 

As you design a fantasy city, think about the 
teleportation circles it might contain and which ones 
adventurers are likely to know about, [f the adventurers 
commonly return to their home base by means of 
a teleportation circle, use that circle as a hook for 
plot developments in your campaign. What do the 
adventurers do if they arrive in a teleportation circle and 
find all the familiar wards disabled and guards lying 
in pools of blood? What if their arrival interrupts an 
argument between two feuding priests at the temple? 
Adventure ensues! 

Bringing Back the Dead _ 

When a creature dies, its soul departs its body, leaves 
the Material Plane, travels through the Astral Plane, 
and goes to abide on the plane where the creature s 
deity resides. If the creature didn’t worship a deity, its 
soul departs to the plane corresponding to its alignment. 
Bringing someone back from the dead means retrieving 
the soul from that plane and returning it to its body. 

Enemies can take steps to make it more difficult for 
a character to be returned from the dead. Keeping 
the body prevents others from using raise dead or 
resurrection to restore the slain character to life. 

A soul can't be returned to life if it doesn't wish to 
be. A soul knows the name, alignment, and patron 
deity (if any) of the character attempting to revive it and 
might refuse to return on that basis. For example, if 
the honorable knight Sturm Brightblade is slain and a 
high priestess of Takhisis (god of evil dragons) grabs 
his body, Sturm might not wish to be raised from the 
dead by her. Any attempts she makes to revive him 
automatically fail. If the evil cleric wants to revive Sturm 
to interrogate him. she needs to find some way to trick 
his soul, such as duping a good cleric into raising him 
and then capturing him once he is alive again. 
















Creating a Campaign 


The world you create is the stage for the 
: ’ventures you set in it. You don't have to give more 
thought to it than that You can run adventures in 
an episodic format, with the characters as the only 
ommon element, and also weave themes throughout 
those adventures to build a greater saga of the 
Characters' achievements in the world. 

Planning an entire campaign might seem like a 
daunting task, but you don’t have to plot out every 
ieraii right from the start. You can start with the 
■asics. running a few adventures, and think about 
larger plotlines you want to explore as the campaign 
regresses. You're free to add as much or as little detail 
as you wish. 

The start of a campaign resembles the start of an 
iventure. You want to jump quickly into the action, 
'how the players that adventure awaits, and grab 
their attention right away. Give the players enough 
information to make them want to come back week after 
. vek to see how the story plays out. 


Start Small 


V. hen you first start building your campaign, start 
small, The characters need to know only about the 
y, town, or village where they start the game, and 
erhaps the nearby dungeon. You might decide that 
the barony is at war with a nearby duchy, or that a 
is slant forest is crawling with ettercaps and giant 
spiders, and you should note these things. But at 
he start of the game, the local area is enough to get 
:he campaign off the ground. Follow^ these steps to 
reate that local area: 


L Create a Home Base 
S ee the "Settlements' section earlier in this chapter 
for guidance on building this settlement. A small 
town or village at the edge of the wilderness serves 
- a fine home base in most D&D campaigns. Use 
. larger town or city if you want a campaign with 
: rba n adventuring. 


2 , Create a Local Region 
S ee "Mapping the Campaign" earlier in this chapter 
: r guidance. Draw a map at province scale (1 hex “ 

1 mile) with the home base near the center. Fill 
the area within a day's travel—about 25 to 30 
lies—of the home base. Pepper it w ith two to 
ur dungeons or similar adventure locales. 

An area that size is likely to have one to three 
: dditiona! settlements as well as the home base, 

' give thought to them as well. 


3 Craft a Starting Adventure 

* -ingle dungeon makes a good first adventure 

f r most campaigns. See chapter 3. "Creating 
.’ventures/ * 1 * 3 * * * for guidance. 

A home base provides a common starting 
a [ion for the characters. This starting point 

might be the village where they grew 7 up or a 
tty that attracted them from points beyond. 





















Or perhaps they begin the campaign in the dungeons 
of an evil baron s castle where they've been locked up 
for various reasons (legitimate or otherwise), throwing 
them into the midst of the adventure* 

For each of these steps, give the locations only as 
much detail as they need. You don’t need to identify 
every building in a village or label every street in a large 
city. If the characters start in the baron's dungeon, you'll 
need the details of this first adventure site, but you 
don’t have to name alt the barons knights. Sketch out 
a simple map. think about the surrounding area, and 
consider whom the characters are most likely to interact 
with early in the campaign. Most important, visualize 
how this area fits into the theme and story you have in 
mind for your campaign. Then start working on your 
first adventure! 

Set the Stage 

As you start to develop your campaign, you'll need to 
fill in the players on the basics. For easy distribution, 
compile essential information into a campaign 
handout. Such a handout typically includes the 
following material: 

* Any restrictions or new options for character creation, 
such as new r or prohibited races, 

- Any information in the backstory of your campaign 
that the characters would know about. If you have 
a theme or direction in mind for the campaign, this 
information could include seeds hinting at that focus, 

* Basic information about the area where the characters 
are starting, such as the name of the town, important 
locations in and around it, prominent NPCs they’d 
know about, and perhaps rumors that point to trouble 
that’s brewing. 

Keep this handout short and to the point. Two pages 
is a reasonable maximum. Even if you have a burst of 
creative energy that produces twenty pages of great 
background material, save it for your adventures. Let 
the players uncover the details gradually in play. 

Involving the Characters 

Once you’ve identified what your campaign is about, 
let the players help tell the story by deciding how their 
characters are involved. This is their opportunity to 
tie their characters' history and background to the 
campaign, and a chance for you to determine how the 
various elements of each character's background tie 
into the campaign's story. For example, what secret has 
the hermit character learned? What is the status of the 
noble character's family? What is the folk hero's destiny? 

Some players might have trouble coming up with 
ideas—not everyone is equally inventive. You can help 
spur their creativity with a few questions about their 
characters: 

* Are you a native, born and raised in the area? If so. 
who’s your family? What's your current occupation? 

* Are you a recent arrival? Where did you come from? 
Why did you come to this area? 


* Are you tied to any of the organizations or people 

involved in the events that kick off the campaign? Are 

they friends or enemies? 

Listen to the players’ ideas, and say yes if you can. 
Even if you want all the characters to have grown up in 
the starting town, consider allowing a recent arrival or 
a transplant if the player's story is convincing enough. 
Suggest alterations to a character's story so it better fits 
your world, or weave the first threads of your campaign 
into that story. 

Creating a Background_ 

Backgrounds are designed to root player characters 
in the world, and creating new backgrounds is a great 
way to introduce players to the special features of your 
world. Backgrounds that have ties to particular cultures, 
organizations, and historical events from your campaign 
are particularly strong. Perhaps the priests of a certain 
religion live as beggars supported by a pious populace, 
singing the tales of their deity’s exploits to entertain 
and enlighten the faithful. You could create a mendicant 
priest background (or modify the acolyte background) 
to reflect these qualities. It could include musical 
instrument proficiency, and its feature probably involves 
receiving hospitality from the faithful. 

Guidelines for creating a new background are 
provided in chapter 9, "Dungeon Master's Workshop.’" 

Campaign Events 

Significant events in the history of a fantasy world tend 
toward immense upheavals: wars that pit the forces 
of good against evil in an epic confrontation, natural 
disasters that lay waste to entire civilizations, invasions 
of vast armies or extra planar hordes, assassinations 
of world leaders. These world-shaking events title the 
chapters of history. 

In a D&D game, such events provide the sparks that 
can ignite and sustain a campaign. The most common 
pitfall of serial stories without a set beginning, middle, 
and end is inertia. Like many television shows and 
comic-book series, a D&D campaign runs the risk of 
retreading the same ground long after the enjoyment’s 
gone. Just as actors or writers drift away from those 
other mediums, so can players—the actors and writers 
of a D&D game. Games stagnate when the story 
meanders too long without a change in tone, wdien the 
same villains and similar adventures grow r tiresome and 
predictable, and when the world doesn’t change around 
the characters and in response to their actions. 

World-shaking events force conflict They set new ? 
events and power groups in motion. Their outcomes 
change the world by altering the tone of the setting 
in a meaningful way. They chronicle the story of your 
world in big, bold print. Change—especially change that 
occurs as a result of the characters’ actions—keeps the 
story moving. If change is imperceptible, the actions 
of the characters lack significance. When the world 
becomes reliable, it's time to shake things up. 



ER i 



CHAP' 


WORLD OF ^ 





















Putting Events in Motion 

World-shaking events can happen at any time in 
a campaign or story arc, but the biggest incidents 
naturally fall at the beginning, middle, and end 
of a story. 

That placement reflects the structure of dramatic 
stories. At the beginning of a story, something happens 
to shake the protagonists' world and spur them into 
action. The characters take action to resolve their 
problems, but other forces oppose them. As they reach a 
significant milestone toward their goal, a major conflict 
disrupts the characters' plans, shaking their world 
again; failure seems imminent. At the end of the story, 
they succeed or fail and the world is shaken again by 
the way the characters changed it for good or ill. 

At the beginning of a D&D campaign, world-shaking 
events create instant adventure hooks and affect the 
characters’ lives directly, in the middle, they make great 
turning points as the characters' fortunes reverse- 
rising after a defeat or falling after a victory. Near 
the end of a campaign* such events serve as excellent 
climactic episodes with far-reaching effects. They might 
even occur after the story has ended, as a result of the 
characters’ actions. 

When Not to Shake It Up 

In constructing a narrative, beware of “false action," 
or action for its own sake. False action doesn't move 
a story forward, engage characters, or cause them to 
change. Many action movies suffer from false action, in 
which car chases, gunfights, and explosions abound but 
do little more than inconvenience the characters and 
eventually bore the audience with their repetition and 
dearth of meaningful stakes* Some D&D campaigns fall 
into the same trap, stringing world-spanning disasters 
together one after another with little impact on the 
characters or the world. Thus, it’s probably not in the 
DM's best interest to reorder the world every single time 
there's a lull in the action, lest world-shaking events 
become ordinary. 

As a general rule, a campaign can sustain up to 
three large-scale, world-shaking events: one near the 
beginning, one near the middle, and one near the 
end. Use as many small-scale events that disturb the 
bounded microcosms of towns, villages, tribes, fiefs, 
duchies, provinces, and so forth as you like. Every 
significant event shakes someone's world, after all, no 
matter how small that world might be. Let unexpected 
and terrible events regularly afflict the world's smaller 
territories, but unless your story demands it, save the 
large-scale map-spanning events for the biggest, most 
important moments of your campaign. 

World-Sha king Ev ents _ 

You can use this section for ideas and inspiration to 
expand on world-shaking events already occurring (or 
^oon to occur) within your world. Alternatively, you can 
roll on the tables below to randomly generate an event 
to inspire your imagination. The attempt to justify a 
random result can reveal unforeseen possibilities. 


Fo get started, select a world-shaking event category 
or roll on the World-Shaking Events table. 

World-Shaking Events 

dlO Event 

1 Rise of a leader or an era 

2 Fall of a leader or an era 

3 Cataclysmic disaster 

4 Assault or invasion 

5 Rebellion, revolution, overthrow 

6 Extinction or depletion 

7 New organization 

S Discovery, expansion, invention 

9 Prediction, omen, prophecy 

10 Myth and legend 

1-2. Rise or Fall of a Leader or an Era 

Eras are often defined by the prominent leaders, 
innovators, and tyrants of the day These people change 
the world and etch their signatures indelibly on the 
pages of history. When they rise to power, they shape 
the time and place where they live in monumental ways. 
When they fall from power or pass away, the ghost of 
their presence lingers. 

Determine the kind of leader that influences the new 
or passing era. You can choose the type of leader or 
determine one randomly using the Leader Types table. 

Leader Types 

dG Leader Type 

1 Political 

2 Religious 

3 Military 

4 Crime/underwodd 

5 Art/culture 

6 Phtlosophy/learning/magic 

Political leaders arc monarchs, nobles, and chiefs. 
Religious leaders include deities avatars, high priests 
and messiahs, as well as those in charge of monasteries 
and leaders of influential religious sects. Major military 
leaders control the armed forces of countries. They 
include military dictators, warlords, and the heads of 
a ruler s war council. Minor military leaders include 
the heads of local militias, gangs, and other martial 
organizations. At the broadest scale, a criminal or 
underworld leader wields power through a network of 
spies, bribes, and black-market trade. On the smallest 
scale, these are local gang bosses, pirate captains, and 
brigands. A leader in art or culture is a virtuoso whose 
work reflects the spirit of the age and changes the w^ay 
people think: a prominent playwright, bard, or court fool 
in whose words, art, or performance the people perceive 
universal truih. On a smaller scale, this might be an 
influential local poet, minstrel, satirist, or sculptor. 

A major leader in philosophy, learning, or magic is 
a genius philosopher, a counselor to emperors, an 
enlightened thinker, the head of the highest institution 
of learning in the world, or an arch mage. A minor leader 


CHAPTER 1 I A WORLD OF YOUR OWN 








2 $ 



might be a local sage, seer, hedge wizard, wise elder, 
or teacher. 

Rise of a Leader, Beginning of an Bra * In dramatic 
stories, a new leader’s rise often comes at the end of 
a period of struggle or turmoil. Sometimes it's a war 
or uprising; other times it’s an election, the death of a 
tyrant, a prophecy fulfilled, or the appointment of a hero. 
Conversely, the new leader might be a tyrant, a fiend, or 
black-hearted villain, and the era that just ended could 
have been one of peace, tranquility, and justice. 

A new leader shakes the foundations of your campaign 
world and begins a new era in the selected region. How 
does this person or this era begin to affect the world? 
Here are several things to consider when determining 
the leader’s impact on the world: 

* Name one thing that has been consistently true about 
the world, which is now no longer true due to this 
leader’s rise or influence. This is the biggest change 
that occurs when the new leader takes power and 
becomes the prevailing trail that defines the era, the 
characteristic for which it is remembered. 

* Name the person (or people) whose death, defeat, or 
loss opened the door for this leader to take power. 

This might be a military defeat, the overthrow of 
old ideas, a cultural rebirth, or something else. Who 
died, lost, or was defeated? What weren’t they willing 
to compromise? Was the new leader complicit in 

the death, defeat, or loss, or was the opportunity 
serendipitous? 

* Despite the leader s virtues, one flaw in particular 
outrages a certain segment of the populace. What 
is that flaw? What person or group of persons will 
do their utmost to foil this leader because of it? 
Conversely, what is this leader's greatest virtue, and 
who rises to the leader’s defense because of it? 

* Who believes in this leader now, but still retains 
doubts? This is someone dose to the leader, who has 
the leader’s trust and knows his or her secret fears, 
doubts, or vices. 

Fad of a Leader, End of an Era . All that begins must 
end. With the fall of kings and queens, the maps of the 
world are redrawn. Laws change, new customs become 
all the rage, and old ones fall out of favor. The attitude 
of the citizens toward their fallen leader shifts subtly at 
first and then changes dramatically as they look back or 
reminisce about the time before. 

The fallen leader might have been a benevolent 
ruler, an influential citizen, or even an adversary to the 
characters. How does the death of this person affect 
those formerly under his or her influence? Here are 
several things to consider when determining the effects 
of a leader’s passing; 

- Name one positive change that the leader brought to 
his or her domain or sphere of influence. Does that 
change persist after the leader’s death? 

* State the general mood or attitude of the people under 
this person’s power. What important fact didn't they 
realize about this person or his or her reign, which 
will later come to light? 

* Name one person or group that tries to fill the leader’s 
shoes in the resulting power vacuum, 

CHAPTER t I A WORLD Of YOUR OWN 


* Name one person or group that plotted against 
this leader. 

- Name three things for which this leader will be 
remembered. 

3, Cataclysmic Disaster 

Earthquake, famine, fire, plague, flood disasters on a 
grand scale can eradicate whole civilizations without 
warning. Natural (or magical) catastrophes redraw 
maps, destroy economies, and alter worlds. Sometimes 
the survivors rebuild from the ruins. The Great Chicago 
Fire, for instance, provided an opportunity to rebuild 
the city according to a modern plan. Most of the time 
the disaster leaves only ruins—buried under ash like 
Pompeii, or sunk beneath the waves like Atlantis. 

You can choose the cataclysm or determine one 
randomly using the Cataclysmic Disasters table. 

Cataclysmic Disasters 

dlO Cataclysmic Disaster 

1 Earthquake 

2 Fam En e/drought 

3 Fire 

4 Flood 

5 Plague/disease 

6 Rain offire (meteoric impact) 

7 Storm (hurricane, tornado, tsunami) 

3 Volcanic eruption 

9 Magic gone awry or a planar warp 

10 Divine judgment 

Some of the disasters on the table might not make 
immediate sense in the context of your campaign 
w T orld, A flood i n the desert? A volcanic eruption on 
grassy plains? If you randomly determine a disaster 
that conflicts with your setting, you can reroll, but the 
challenge of justifying the catastrophe can produce 
interesting results. 

With two exceptions, the disasters on the table 
resemble those that affect our own w r orld. Think 
of planar warps and magic gone aw ry like nuclear 
incidents; they’re big events that unnaturally alter 
the land and its people. For example, in the Eberron 
campaign setting, a magical catastrophe lays waste 
to an entire country, transforming it into a hostile 
wasteland and ending the Last War 
Divine judgment is something else entirely. This 
disaster takes whatever form you w r ant, but it’s always a 
big, bold, unsubtle sign of a deity’s displeasure. 

You might decide to wipe a town, region, or nation off 
the map of your world, A disaster ravages the land and 
effectively eliminates a place the characters once knew. 
Leave one or tw^o survivors to tell the characters w'hat 
happened, and ensure that the characters feel the depth 
of the catastrophe. What are the ongoing effects of this 
cataclysm? The following points can help you define the 
nature and consequences of the disaster: 

* Decide what caused this cataclysm and w r here it 
originated. 

* An omen presaged this event, or a series of signs and 
omens. Describe the omen in detail. 





• Describe or name the creature that warned the 
populace about the oncoming disaster. Who listened? 

• Who were the lucky (or unlucky) ones who survived? 

• Describe what the area looks like after the disaster, in 
contrast to how it looked before. 

4. Assault or Invasion 
One of the most common world-shaking events, an 
invasion occurs when one group forcibly takes over 
another, usually by military strength, but also by 
ir. nitration and occupation. 

An assault differs from an invasion in that the 
. .tacking force isn’t necessarily interested in occupation 
r taking power. On the other hand, an assault might be 
the first step of an invasion. 

Regardless of the scale, a world-shaking assault or 
invasion stands out because its repercussions change 
\ne characters’ world, and its effects echo long after the 
nitial attack or takeover. 

Imagine that part of your campaign world is attacked 
c r invaded. Depending on the current scale of your 
rampaign, the area might be as small as a section 
: a city or as large as a continent, world, or plane of 
existence. 

Define the aggressor and whether it represents a 
known enemy or a previously unknown adversary. 

Select a threat that already poses a danger to the area 
you’ve chosen, or use the Invading Forces table to 
determine the aggressor. 

Invading Forces 

d8 Invading Force 

1 A criminal enterprise 

2 Monsters or a unique monster 

3 A planar threat 

4 A past adversary reawakened, reborn, or resurgent 

5 A splinter faction 

6 A savage tribe 

7 A secret society 

8 A traitorous ally 



Now consider these other aspects of the conflict: 


• Name one element of the invasion or assault that the' 
defenders didn’t expect or couldn’t repel. 

• Something happened to the first defenders who stood 
against the invasion or assault—something no one 
wants to talk about. What was it? 

• The attackers or invaders had a motive for their 
action that wasn't obvious or understood at first. 

What was it? 

• Who turned traitor, and at what point did they turn? 
Why did they do it? Did an attacker try to stop the 
incursion, or did a prominent defender throw in with 
the invaders? 


5. Rebellion, Revolution, Overthrow 

Dissatisfied with the current order, a person or group 
of people overturns the dominant regime and takes 
over—or fails to take over. Regardless of the result, a 
revolution (even an attempted one) can shape the destiny 
of nations. 

The scale of a revolution need not involve the common 
masses against the nobility. A revolution can be as small 
as a merchants’ guild revolting against its leadership 
or a temple overthrowing its priesthood in favor of a 
new creed. The spirits of the forest might attempt to 
overthrow the forces of civilization in a nearby city that 
cut down trees for timber. Alternatively, the scale can be 
as dramatic as humanity rising to overthrow the gods. 


CHAPTER 1 I A WORLD OF YOUR OWN 







HMli * 


*• - ■*»j:r-. . 
‘-CE 




Imagine that part of your campaign world erupts in 
revolution. Pick a power group in your current campaign 
and name (or invent) a group that opposes it, fomenting 
revolution. Then let the following points help you flesh 
out the conflict: 

* Name three things the rebels want or hope to achieve. 

* The rebels achieve a victory against those they wish 
to overthrow, even if it's a pyrrhic victory. Which of 
their three goals do they achieve? How long is this 
achievement likely to last? 

* Stale the cost exacted upon the old order after its 
fall from power. Does anyone from the former power 
group remain in power during the next regime? If the 
old order remains in powder, describe one way that its 
leaders punish the revolutionaries. 

* One of the rebellion s prominent leaders—In some 
respects the face of the revolution—was driven by a 
personal reason for his or her part in events. Describe 
this person and state the true reason he or she led the 
rebellion, 

* What problem existed before the revolution that 
persists in spite of it? 


6, Extinction or Depletion 
Something that once existed in the campaign world 
is gone. The lost resource might be a precious metal, 
a species of plant or animal that held an important 
place in the local ecology, or an entire race or culture of 
people. Its absence causes a chain reaction that affects 
every creature that uses or relies on it. 

You can eliminate a people, place, or thing that 
previously existed in a certain location or area in your 
campaign world. On a small scale, the last of a family 
dynasty passes away or a once-thriving mining town 
in the region dries up and becomes a ghost town. On a 
grand scale, magic dies, the last dragon is slain, or the 
final fey noble departs the world. 

What is gone from the world—or the region of the 
world you've chosen—that once existed there? If the 
answer isn't immediately evident, consult the Extinction 
or Depletion table for ideas. 


Extinction or Depletion 

dS Lost Resource 

1 A kind of animal (insect, bird, fish, livestock) 

2 Habitable land 

3 Magic or magic-users {all magic, or specific kinds or 
schools of magic) 

4 A mineral resource (gems, metals, ores) 

5 A type of monster (unicorn, manticore, dragon) 

6 A people (family line, clan, culture, race) 

7 A kind of plant (crop, tree, herb, forest) 

8 A waterway (river, lake, ocean) 


Then consider these additional questions: 


* Name a territory, race, or type of creature that relied 
on the thing that was lost. How do they compensate? 
How do they attempt to substitute for what was lost? 


t V 
















* Who or what is to blame for the loss? 

* Describe an immediate consequence of the loss. 
Forecast one way that the loss impacts or changes 
the world in the long term. Who or what suffers the 
most as a result of the loss? Who or what benefits the 
most from it? 

7. New Organization 
The foundation of a new order, kingdom, religion, 
society, cabal, or cult can shake the world with its 
actions, doctrine, dogma, and policies. On a local 
scale, a new organization contends with existing power 
groups, influencing, subverting, dominating, or allying 
with them to create a stronger base of power. Large 
and powerful organizations can exert enough influence 
to rule the world. Some new organizations benefit the 
populace, while others grow to threaten the civilization 
they once protected. 

Perhaps an important new organization arises in one 
part of your world. It could have humble or auspicious 
beginnings, but one thing is certain: it is destined to 
change the world as long as it progresses along its 
present course. Sometimes an organ ization's alignment 
is apparent from inception, but its morality can remain 
ambiguous until its doctrines, policies, and traditions 
are revealed over time. Choose the type of organization, 
or use the New Organizations table to generate ideas. 

New Organizatsons 

dlO New Organization 

1 Crime syndicate/bandit confederacy 

2 Guild (masons, apothecaries, goldsmiths) 

3 Magical circle/society 

4 Miiitary/knightly order 

5 New family dynasty/tribe/dan 

6 Philosophy/disdpline dedicated to a principle or ideal 

7 Realm (village, town, duchy, kingdom) 

S Religion/sect/denomination 

9 School/university 

10 Secret society/cult/cabal 

Then consider some or all of the following options: 

* The new order supplants a current power group in 
the world, gaining territory, converts, or defectors and 
reducing the previous power group s numbers. Who or 
what does the foundation of this new order supplant? 

* The new order appeals to a specific audience. Decide 
whether this order attracts a certain race, social class, 
or character class. 

* The leader of this new order is known for a particular 
quality valued by his or her followers. Elaborate on 
why they respect him or her for this quality, and 
what actions this leader has taken to retain the 
followers' support, 

* A rival group opposes the foundation of this new 
organization. Choose an existing power group from 
your campaign to oppose the new T organization, or 
create one from the categories on the table. Decide 
why they oppose the new group, who leads them, and 
what they plan to do to stop their rival. 


8. Discovery, Expansion, Invention 

Discoveries of new lands expand the map and change 
the boundaries of empires. Discoveries of new magic 
or technology expand the boundaries of what was once 
thought possible. New resources or archaeological finds 
create opportunity and wealth and set prospectors and 
power groups in motion to vie for their control. 

A new discovery—or rediscovery—can impact your 
campaign world in a meaningful way, shaping the 
course of history and the events of the age. Think of this 
discovery as a big adventure hook or series of hooks. 
This is also an opportunity to create a unique monster, 
item, god, plane, or race for your world. As long as the 
discovery matters, it doesn't have to be wholly original, 
just fl avored for your campa ign. 

A discovery is particularly impressive when the 
adventurers in your campaign are the ones who 
make it. If they discover a new mineral with magical 
properties, map a new' land that’s eminently suitable 
for colonization, or uncover an ancient weapon w'ith 
the power to wreak devastation on your world, they 
are likely to set major events in motion. This gives 
the players the opportunity to see exactly how much 
influence their actions have oo your world. 

Decide on the type of discovery that is made or use 
the Discoveries table to generate ideas. 

Discoveries 

dlO Discovery 

1 Ancient rufn/lost city of a legendary race 

2 Animal/monster/magical mutation 

3 fnvention/technology/magic (helpful, destructive) 

4 New (or forgotten) god or planar entity 

5 New (or rediscovered) artifact or religious relic 

6 New land (island, continent, lost world, demiplane) 

7 Otherworldly object (planar portal, alien spacecraft) 

8 People (race, tribe, lost civilization, colony) 

9 Plant (miracle herb, fungal parasite, sentient plant) 

10 Resource or wealth (gold, gems, mithral) 

Once you have determined the type of discovery, flesh 
it out by deciding exactly what it is, who discovered 
it, and what potential effect it could have on the 
w'orld. Ideally, previous adventures in your campaign 
will help you fill in the blanks, but also keep the 
following in mind: 

* This discovery benefits a particular person, group, or 
faction more than others. Who benefits most? Name 
three benefits they stand to gain from this discovery. 

* This discovery directly harms another person, group, 
or faction. Who is harmed the most? 

* This discovery has consequences. Name three 
repercussions or side effects. Who ignores the 
repercussions? 

* Name two or three individuals or factions struggling 
to possess or control this discovery. Who is likely to 
win? What do they stand to gain, and what are they 
willing to do to control the discovery? 


CHAPTER 1 I A WORLD OF YOUR OWN 


9. Prediction, Omen, Prophecy 

Sometimes the foretelling of a world-shaking event 
becomes a world-shaking event: an omen that predicts 
the fall of empires, the doom of races, and the end 
of the w ? orld. Sometimes an omen points to change 
for the good, such as the arrival of a legendary hero 
or savior. But the most dramatic prophecies warn of 
future tragedies and predict dark ages. Unlike other 
world-shaking events, the outcome doesn't happen 
immediately. Instead, individuals or factions strive to 
fulfill or avert the prophecy—or shape the exact way it 
will be fulfilled—according to how r it will affect them. 
The prophecy's helpers or hinderers create adventure 
hooks in the campaign by the actions they take. A 
prophecy should foretell a big event on a grand scale, 
since it will take time to come true (or be averted). 

Imagine that a world-shaking prophecy comes to light. 
If events continue on their present course, the prophecy 
will come true and the world will change dramatically 
as a result. Don't shy away from making this prophecy 
both significant and alarming, keeping in mind the 
following points: 

- Create a prophecy that foretells a major change to 
the campaign world. You can build one from scratch 
using ideas from the current campaign or randomly 
determine a world-shaking even! and flesh out 

the details, 

* Write a list of three or more omens that w ill occur 
before the prophecy comes to pass. You can use 
events that have already occurred in the campaign so 
that the prophecy is closer to being fulfilled. The rest 
are events that might or might not happen, depending 
on the actions of the characters, 

* Describe the person or creature that discovered 
the prophecy and how it w : as found. What did this 
creature gain by revealing it? What did this person 
lose or sacrifice? 

- Describe the individual or faction that supports the 
prophecy and works to ensure its fulfillment, and the 
one that will do all in its power to avert the prophecy. 
What is the first step each takes? Who suffers for 
their efforts? 

* One part of the prophecy is WTong. Choose one of the 
omens you listed or one of the details you created for 
the w r orld-shaking event that the omen predicts. The 
chosen omen is false, and if applicable, its opposite is 
true instead, 

10, Myth and Legend 

If wars, plagues, discoveries, and the like can be called 
regular world-shaking events, mythic events exceed 
and surpass them. A mythic event might occur as the 
fulfillment of an ancient or long-forgotten prophecy, or it 
might be an act of divine intervention. 

Once again, your current campaign probably provides 
a few' ideas for the shape of this event. If you need 
inspiration, roll a d8 on the World-Shaking Events table, 
instead of the normal dlQ. Address the bullet-point 
notes for that disaster, but magnify the result to the 
grandest scale you can imagine. 


The rise or fall of a leader or era is the death or 
birth of a god, or the end of an age or the world, A 
cataclysmic disaster is a world-drowning deluge, an ice 
age, or a zombie apocalypse. An assault or invasion is 
a world war, a w r or ld-spa lining demonic incursion, the 
awakening of a world-threatening monster, or the final 
clash between good and evil. A rebellion dethrones a 
god or gods, or raises a new force (such as a demon 
lord) to divinity. A new' organization is a world-spanning 
empire or a pantheon of new gods. A discovery is a 
doomsday device or a portal to eldritch dimensions 
where world-shattering cosmic horrors dwell. 

T racking Time _ 

A calendar lets you record the passage of time in the 
campaign. More importantly, it lets you plan ahead for 
the critical events that shake up the world. For simple 
time tracking, use a calendar for the current year in 
the real world. Pick a date to indicate the start of the 
campaign, and make note of the days that adventurers 
spend on their travels and various activities. The 
calendar tells you wTien the seasons change and 
the lunar cycle. More importantly, you can use your 
calendar to track important festivals and holidays, as 
well as key events that shape your campaign. 

This method is a good starting point, but the calendar 
of your world need not follow a modern calendar. If you 
want to customize your calendar with details unique to 
your world, consider these types of features. 

The Basics 

A fantasy world's calendar doesn't have to mirror the 
modern one. but it can (see “The Calendar of Harptos" 
sidebar for an example). Do the weeks of a month have 
names? What about specific days of each month, like the 
ides, nones, and calends of the Roman calendar? 

Physical Cycles 

Determine vvhen the seasons fall, marked by the 
solstices and equinoxes. Do the months correspond 
to the phases of the moon (or moons)? Do strange 
and magical effects occur at the same ti me as these 
phenomena? 

Religious Observances 

Sprinkle holy days throughout your calendar. Each 
significant deity in your world shot] Id have at least one 
holy day during the year, and some gods' holy days 
correspond to celestial phenomena such as new moons 
or equinoxes. Holy days reflect the portfolio of a deity (a 
god of agriculture is honored in the harvest season) or 
significant events in the history of the deity’s worship, 
such as the birth or death of a holy person, the date of 
a god's manifestation, the accession of the current high 
priest, and so on. 

Certain holy days are civic events, observed by every 
citizen of a town w ? here a god s temple can be found. 
Harvest festivals are often celebrations on a grand 
scale. Other holy days are Important only to people 
particularly devoted to a single deity. Still others are 
observed by priests, who perform private rites and 
sacrifices inside their temples on certain days or specific 


C ] i A FT £ St 1 A wo R L IJ O V YO 0 R OW N r 








:me$ of day. And some holy days are local, observed by 
he faithful of a specific temple. 

Give some thought to how priests and common folk 
Aebrate holy days* Going into a temple* sitting in a 
pew* and listening to a sermon ts a mode of worship 
reign to most fantasy religions* More commonly, 
-lebrants offer sacrifices to their gods. The faithful 
ring animals to the temple to be slaughtered or 
crn incense as an offering. The wealthiest citizens 
bring the largest animals, to haunt their wealth and 
iemonBtrate their piety* People pour out libations at the 
graves of their ancestors* They spend all-night vigils in 
darkened shrines or enjoy splendid feasts celebrating a 
j d's bounty. 

Civic Observances 

Holy days provide the majority of the special 
rclebrations in most calendars, but local or national 
festivals account for many others. The birthday of a 
monarch, the anniversary of a great victory in a war, 
raft festivals, market days, and similar events all 
rovide excuses for local celebrations. 

Fantastic Events 

Since your setting is a fantasy world and not a mundane 
medieval society, add in a few events of an obviously 
magical nature* For example* perhaps a ghostly castle i 
-ppears on a certain hill on the winter solstice every 
car* or every third full moon fills lycanthropes w ith a 
■ nicularly strong bloodlust. Also, the thirteenth night 
: every month could mark the ghostly wanderings of a 
mg- forgot ten nomadic tribe. 

Extraordinary events, such as the approach of a comet 
: r a lunar eclipse, make good adventure elements, and 
\ ou can drop them in your calendar wherever you want* 

; ur calendar can tell you when there's a full moon for 
3 lunar eclipse* but you can always fudge the date for a 
particular effect. 

Ending a Campaign __ 

■ campaign s ending should tie up all the threads of 
ii s beginning and middle, but you don't have to take a 

ampaign all the way to 20th level for it to be satisfying. 
Wrap up the campaign whenever your story reaches its 
natural conclusion. 

lake sure you allow space and time near the end 
: your campaign for the characters to finish up any 
personal goals* Their own stories need to end in 
a satisfying way, just as the campaign story does, 
eally* some of the characters' individual goals will be 
1 1 filled by the ultimate goal of the final adventure. Give 
haracters with unfinished goals a chance to finish them 
:cfore the very end* 

Once the campaign has ended, a new one can begin* 
if you intend to run a new campaign for the same group 

■ players, using their previous characters" actions as 
the basis of legends gives them immediate investment in 
ihe new setting. Let the new characters experience how 

ie world has changed because of their old characters. 

t he end, though* the new campaign is a new story 
a fth new protagonists. They shouldn't have to share the 
spotlight with the heroes of days gone by. 



The world of the Forgotten Realms uses the Calendar of 
Harptos, named after the long-dead wizard who invented 
it* Each year of 365 days is divided into twelve months of 
thirty days each, which roughly correspond to months in the 
real-world Gregorian calendar Each month is divided into 
three tendays. Five special holidays fall between the months 
and mark the seasons. Another special holiday, Shieldmeet, 
is inserted into the calendar after Midwinter every four years* 
much like leap years in the modern Gregorian calendar. 


Month 

Name 

Common Name 

I 

Hammer 

Deepwinter 


Annual holiday: Midwinter 


Quadrennial holiday: Shieldmeet 

2 

Alturiak 

The Claw of Winter 

3 

Ches 

The Claw of the Sunsets 

4 

Tarsakh 

The Claw of the Storms 


Annual holiday: Greengrass 

5 

Mirtul 

The Melting 

6 

Kythorn 

The Time of Flowers 

7 

Flamerule 

Summertide 


Annual holiday: Midsummer 

S 

Eleasias 

Highsun 

9 

Eleirrt 

The Fading 


Annual holiday: Highharvesttide 

10 

Marpenoth 

Leaffall 

11 

Uktar 

The Rotting 

Annual holiday: The Feast of the Moon 

12 

Nightal 

The Drawing Down 





CH 

A ITER 1 I A WORLD OF YOUR OWN 
















Play Style 

By building a new world (or adopting an existing one) 
and creating the key events that launch your campaign, 
you determined what your campaign is about. Next, you 
have to decide how you want to run your campaign. 
What's the right way to run a campaign? That depends 
on your play style and the motivations of your players. 
Consider your players’ tastes, your strengths as a 
DM table rules (discussed in part 3), and the type of 
game you want to run. Describe to the players how you 
envision the game experience and let them give you 
input. The game is theirs, too. Lay that groundwork 
early, so your players can make informed choices and 
help you maintain the type of game you want to run. 

Consider the following two exaggerated examples of 
play style. 

Hack and Slash 

The adventurers kick in the dungeon door, fight the 
monsters, and grab the treasure. This style of play is 
straightforward, fun, exciting, and action-oriented. The 
players spend relatively little time developing personas 
for their characters, roleplaying noncombat situations, 
or discussing anything other than the immediate 
dangers of the dungeon. 

In such a game, the adventurers face clearly evil 
monsters and opponents and occasionally meet clearly 
good and helpful NPCs, Don't expect the adventurers 
to anguish over what to do with prisoners, or to debate 
whether it’s right or wrong to invade and wipe out a 
bugbear lain Don't track money or time spent in town. 
Once they've completed a task, send the adventurers 
back into the action as quickly as possible. Character 
motivation need be no more developed than a desire to 
kill monsters and acquire treasure. 

Immersive Storytelling 

Waterdeep is threatened by political turmoil The 
adventurers must convince the Masked Lords, the city's 
secret rulers, to resolve their differences, but can do so 


A World to Explore 

Much of a campaign involves the adventurers traveling from 
place to place, exploring the environment, and learning 
about the fantasy world. This exploration can take place in 
any environment, including a vast wilderness, a labyrinthine 
dungeon, the shadowy passages of the Underdark, the 
crowded streets of a city, and the undulating waters of 
the sea. Determining a way around an obstacle, finding a 
hidden object, investigating a strange feature of a dungeon, 
deciphering clues, solving puzzles, and bypassing or 
disabling traps can all be part of exploration. 

Sometimes exploration is an incidental part of the game. 
For instance, you might gloss over an unimportant journey 
by telling the players that they spend three uneventful days 
on the road before moving along to the next point of interest. 
Other times exploration is the focus, a chance to describe 
a wondrous part of the world or story that Increases the 
players 1 feeling of immersion. Similarly, you should consider 
playing up exploration if your players enjoy solving puzzles, 
finding their way around obstacles, and searching dungeon 
corridors for secret doors. 


only after both the characters and the lords have come 
to terms with their differing outlooks and agendas. 

Th is style of gaming is deep, complex, and challenging. 
The focus isn’t on combat but on negotiations, political 
maneuver a ngs, and character interaction. A whole game 
session might pass without a single attack roll. 

In this style of game, the NPCs are as complex and 
richly detailed as the adventurers, although the focus 
lies on motivation and personality, not game statistics. 
Expect long digressions from each player about what 
his or her character does, and why. Going to a temple to 
ask a priest for advice can be as important an encounter 
as fighting ores, (And don't expect the adventurers to 
fight the ores at all unless they are motivated to do 
so.) A character will sometimes take actions against 
the players better judgment, because “that s what the 
character would do.' 

Since combat isn't the focus, game rules take a back 
seat to character development. Ability check modifiers 
and skill proficiencies take precedence over combat 
bonuses. Feel free to change or ignore rules to fit the 
players’ roleplaying needs, using the advice presented in 
part 3 of this book. 

Something in Between 

The style of play in most campaigns falls between these 
two extremes. There's plenty of action, but the campaign 
offers an ongoing storyline and interaction between 
characters as well Players develop their characters’ 
motivations and relish the chance to prove their skills 
in combat. To maintain the balance, provide a mixture 
of roleplaying encounters and combat encounters. Even 
in a dungeon setting, you can present NPCs that aren't 
meant to be fought but rather helped out, negotiated 
with, or just talked to. 

Think about your preferred style of play by 
considering these questions: 

* Are you a fan of realism and gritty consequences, or 
are you more focused on making the game seem like 
an action movie? 

* Do you want the game to maintain a sense of medieval 
fantasy, or do you want to explore alternate time lines 
or modern thinking? 

* Do you want to maintain a serious tone, or is humor 
your goal? 

* Even if you are serious, is the action lighthearted 
or intense? 

* Is bold action key, or do the players need to be 
thoughtful and cautious? 

* Do you like to plan thoroughly in advance, or do you 
prefer improvising on the spot? 

* Is the game full of varied D&D elements, or does it 
center on a theme such as horror? 

* Is the game for all ages, or does it involve 
mature themes? 

* Are you comfortable with moral ambiguity such as 
allowing the characters to explore whether the end 
justifies the means? Or are you happier with straight¬ 
forward heroic principles, such as justice, sacrifice, 
and helping the downtrodden? 


CHAPTER 1 j A WORLD OF YOUR OWN 





















1 ■ 






















Character Names 

Part of vour campaign style has to do with naming 
characters. Its a good idea to establish some ground 
rules with your players at the start of a new campaign. 

In a group consisting of Sithis. Travok, Anastriarma, 
and Kairon, the human fighter named Bob 13 sticks out, 
especially when he's identical to Bob i T who was killed 
by kobolds. If everyone takes a lighthearted approach 
to names, that's fine. If the group would rather take the 
characters and their names a little more seriously, urge 
Bob's player to come up with a more appropriate name. 

Player character names should match each other 
in flavor or concept, and they should also match the 
flavor of your campaign world—so should the nonplaycr 
characters 1 names and place names you create. Travok 
and Kairon don't want to undertake a quest for Lord 
Cupcake, visit Gumdrop Island, or take down a crazy 
wizard named Ray. 

Continuing or 

Episodic Campaigns _ 

The backbone of a campaign is a connected series 
of adventures, but you can connect them in two 
different ways. 

In a continuing campaign, the connected adventures 
share a sense of a larger purpose or a recurring 
theme (or themes). The adventures might feature 
returning villains, grand conspiracies, or a single 
mastermind w r ho s ultimately behind every adventure 
of the campaign, 

A continuing campaign designed with a theme and 
a story arc in mind can feel like a great fantasy epic. 

The players derive the satisfaction of knowing the 
actions they take during one adventure matter in the 
next. Plotting and running that kind of campaign can 
be demanding on the DM, but the payoff is a great and 
memorable story. 

An episodic campaign, in contrast, is like a television 
show- where each week’s episode is a self-contained 
story that doesn’t play into any overarching plot. It 
might be built on a premise that explains its nature: the 
player characters are adventurers-for-hi re, or explorers 
venturing into the unknown and facing a string of 
unrelated dangers. They might even be archaeologists, 
venturing into one ancient ruin after another in search 
of artifacts. An episodic game like this lets you create 
adventures—or buy published ones—and drop them into 
your campaign without worrying about how they fit with 
the adventures that came before and follow after. 

Cam paign Them e _ 

A theme in a campaign, as in a work of literature, 
expresses the deeper meaning of a story and the 
fundamental elements of human experience that the 
story explores. Your campaign doesn't have to be a work 
of literature, but it can still draw on common themes 
that lend a distinctive flavor to its stories. Consider 
these examples: 


* A campaign about confronting the inevitability of 
mortality, w hether embodied in undead monsters or 
expressed through the death of loved ones. 

* A campaign revolving around an insidious evil, 
whether dark gods, monstrous races such as the 
yuan-ti, or creatures of unknown realms far removed 
from mortal concerns. As heroes confront this evil, 
they must face the selfish, cold tendencies of their own 
kind as well. 

* A campaign featuring troubled heroes who confront 
not only the savagery of the bestial creatures of the 
world, but also the beast within—the rage and fury 
that lies in their own hearts. 

* A campaign exploring the insatiable thirst for powder 
and domination, whether embodied by the hosts of the 
Nine Hells or by humanoid rulers bent on conquering 
the world. 

With a theme such as “confrontation with mortality, " 
you can craft a broad range of adventures that aren t 
necessarily connected by a common villain. One 
adventure might feature the dead bursting from their 
graves and threatening to overwhelm a whole town. 

In the next adventure, a mad wizard creates a flesh 
golem in an effort to revive his lost love. A villain could 
go to extreme lengths to achieve immortality to avoid 
confronting its own demise. The adventurers might 
help a ghost accept death and move on. or one of the 
adventurers might even become a ghost! 

Variations on a Theme 
Mixing things up once in a while allows your players 
to enjoy a variety of adventures. Even a tightly themed 
campaign can stray now and then, if your campaign 
heavily involves intrigue, mystery, and roleplaving. your 
players might enjoy the occasional dungeon crawl- 
especial ly if the tangent is revealed to relate to a larger 
plot in the campaign. If most of your adventures are 
dungeon expeditions, shift gears with a tense urban 
mystery that eventually leads the party into a dungeon 
crawl in an abandoned building or tower. If you run 
horror adventures week after week, try using a villain 
who turns out to be ordinary, perhaps even silly. Comic 
relief is a great variation on almost any D&D campaign, 
though players usually provide it themselves. 

Tiers of Play 

As characters grow in power, their ability to change the 
world around them grows with them, ft helps to think 
ahead when creating your campaign to account for this 
change. As the characters make a greater impact on the 
world, they face greater danger whether they want to 
or not. Powerful factions see them as a threat and plot 
against them, while friendly ones court their favor in 
hopes of striking a useful alliance. 

The tiers of play represent the ideal milestones for 
introducing new world-shaking events to the campaign. 
As the characters resolve one event, a new danger 
arises or the prior trouble transforms into a new threat 
in response to the characters' actions. Events need to 
grow in magnitude and scope, increasing the stakes and 
drama as the characters become increasingly powerful. 


chapter J 


A WORLD OF YOUR OW N 















This approach also allows you to break your design 
work down into smaller pieces. Create material such 
as adventures, NPCs, maps, and so on for one tier at 
a time. You only need to worry about the details of the 
next tier as the characters approach it. Even better, as 
he campaign takes unexpected turns in response to the 
players’ choices, you don't have to worry about redoing 
much work. 

Levels 1-4: L ocal Heroes _ 

Characters in this tier are still learning the range of 
class features that define them, including their choice 
of specialization. But even lst-level characters are 
heroes, set apart from the common people by natural 
characteristics, learned skills, and the hint of a greater 
destiny that lies before them. 

At the start of their careers, characters use lst- 
and 2nd-level spells and wield mundane gear. The 
magic items they find include common consumable 
items (potions and scrolls) and a very few uncommon 
permanent items. Their magic can have a big impact in 
a single encounter, but it doesn’t change the course of an 
adventure. 

The fate of a village might hang on the success or 
failure of low-level adventurers, who trust their lives 
:o their fledgling abilities. These characters navigate 
dangerous terrain and explore haunted crypts, where 
■hey can expect to fight savage ores, ferocious wolves, 
giant spiders, evil cultists, bloodthirsty ghouls, and 
hired thugs. If they face even a young dragon, they're 
better off avoiding a fight. 

Levels 5-10: Heroes of the Realm 

By the time they reach this tier, adventurers have 
mastered the basics of their class features, though they 
continue to improve throughout these levels. They have 
found their place in the world and have begun to involve 
themselves in the dangers that surround them. 

Dedicated spellcasters learn 3rd-level spells at the 
start of this tier. Suddenly characters can fly, damage 
large numbers of foes with fireball and lightning bolt 
spells, and even breathe underwater. They master 
5th-level spells by the end of the tier, and spells such 
as teleportation circle, scrying, flame strike, legend 
lore, and raise dead can have a significant impact on 
their adventures. They start acquiring more permanent 
magic items (uncommon and rare ones) as well, which 
will serve them for the rest of their careers. 

The fate of a region might depend on the adventures 
that characters of levels 5 to 10 undertake. These 
adventurers venture into fearsome wilds and ancient 
ruins, where they confront savage giants, ferocious 
hydras, fearless golems, evil yuan-ti. scheming devils, 
bloodthirsty demons, crafty mind flayers, and drow 
assassins. They might have a chance of defeating a 
young dragon that has established a lair but not yet 
extended its reach far into the surrounding territory. 


Levels 11-16: Masters of the 
Realm 

By 11th level, characters are shining examples of 
courage and determination—true paragons in the world, 
set well apart from the masses. At this tier, adventurers 
are far more versatile than they were at lower levels, and 
they can usually find the right tool for a given challenge. 

Dedicated spellcasters gain access to 6th-level spells 
at 11th level, including spells that completely change 
the way adventurers interact with the world. Their big, 
flashy spells are significant in combat— disintegrate, 
blade barrier, and heal, for example—but behind-the- 
scenes spells such as word of recall, find the path, 
contingency, teleport, and true seeing alter the way 
players approach their adventures. Each spell level after 
that point introduces new effects with an equally large 
impact. The adventurers find rare magic items (and very 
rare ones) that bestow similarly powerful abilities. 

The fate of a nation or even the world depends on 
momentous quests that such characters undertake. 
Adventurers explore uncharted regions and delve into 
long-forgotten dungeons, where they confront terrible 
masterminds of the lower planes, cunning rakshasas 
and beholders, and hungry purple worms. They might 
encounter and even defeat a powerful adult dragon 
that has established a lair and a significant presence in 
the world. 

At this tier, adventurers make their mark on the 
world in a variety of ways, from the consequences of 
their adventures to the manner in which they spend 
their hard-won treasure and exploit their well-deserved 
reputations. Characters of this level construct fortresses 
on land deeded them by local rulers. They found guilds, 
temples, or martial orders. They take on apprentices 
or students of their own. They broker peace between 
nations or lead them into war. And their formidable 
reputations attract the attention of very powerful foes. 

Levels 17-20: Masters of the 
World 

By 17th level, characters have superheroic capabilities, 
and their deeds and adventures are the stuff of legend. 
Ordinary people can hardly dream of such heights of 
power—or such terrible dangers. 

Dedicated spellcasters at this tier wield earthshaking 
9th-level spells such as wish, gate, storm of vengeance, 
and astral projection. Characters have several rare 
and very rare magic items at their disposal, and begin 
discovering legendary items such as a vorpal sword or a 
staff of the magi. 

Adventures at these levels have far-reaching 
consequences, possibly determining the fate of 
millions in the Material Plane and even places beyond. 
Characters traverse otherworldly realms and explore 
demiplanes and other extraplanar locales, where they 
fight savage balor demons, titans, archdevils, lich 
archmages, and even avatars of the gods themselves. 
The dragons they encounter are wyrms of tremendous 
power, whose sleep troubles kingdoms and whose 
waking threatens existence itself. 


CHAPTER 1 I A WORLD OF YOUR OWN 













Characters who reach 20th level have attained 
the pinnacle of mortal achievement. Their deeds are 
recorded in the annals of history and recounted by 
bards for centuries. Their ultimate destinies come to 
pass. A cleric might be taken up into the heavens to 
serve as a god’s right hand. A warlock could become 
a patron to other warlocks. Perhaps a wizard unlocks 
the secret to immortality (or undeath) and spends eons 
exploring the farthest reaches of the multi verse. A druid 
might become one with the land, transforming into a 
nature spi rit of a particular place or an aspect of the 
wild. Other characters could found clans or dynasties 
that revere the memory of their honored ancestors 
from generation to generation, create masterpieces of 
epic literature that are sung and retold for thousands 
of years, or establish guilds or orders that keep the 
adventurers’ principles and dreams alive. 

Reaching this point doesn't necessarily dictate the 
end of the campaign. These powerful characters might 
be called on to undertake grand adventures on the 
cosmic stage. And as a result of these adventures, their 
capabilities can continue to evolve. Characters gain no 
more levels at this point, but they can still advance in 
meaningful ways and continue performing epic deeds 
that resound throughout the multi verse. Chapter 7 
details epic boons you can use as rewards for these 
characters to maintain a sense of progress. 

Starting at Higher Level _ 

Experienced players familiar with the capabilities of 
the character classes and impatient for more significant 
adventures might welcome the idea of starting a 
campaign with characters above 1st level. Creating a 
higher-level character uses the same character creation 
steps outlined in the Player's Handbook. Such a 
character has more hit points, class features, and spells, 
and probably starts with better equipment. 

Starting equipment for characters above 1st level is 
entirely at your discretion, since you give out treasure 
at your own pace. That said, you can use the Starting 
Equipment table as a guide. 


Flavors of Fantasy 

Dungeons & Dragons is a fantasy game, but that broad 
category encompasses a lot of variety. Many different 
flavors of fantasy exist in fiction and him. Do you want 
a horrific campaign inspired by the works of H, P. 
Lovecraft or Clark Ashton Smith? Or do you envision a 
world of muscled barbarians and nimble thieves, along 
the lines of the classic sword-and-sorcery books by 
Robert E. Howard and Fritz Leiber? Your choice can 
have a impact on the favor of your campaign. 

Heroic Fantasy 

Heroic fantasy is the baseline assumed by the D&D 
rules. The Player s Handbook describes this baseline: 
a multitude of humanoid races coexist with humans in 
fantastic worlds. Adventurers bring magical powers to 
bear against the monstrous threats they face. These 
characters typically come from ordinary backgrounds, 
but something impels them into an adventuring life. The 
adventurers are the -'heroes" of the campaign, but they 
might not be truly heroic, instead pursuing this life for 
selfish reasons. Technology and society are based on 
medieval norms, though the culture isn't necessarily 
European, Campaigns often revolve around delving into 
ancient dungeons in search of treasure or in an effort to 

destroy monsters or villains. 

¥ 

This genre is also common in fantasy fiction. Most 
novels set in the Forgotten Realms are best described as 
heroic fantasy, following in the footsteps of many of the 
authors listed in appendix E of the Player s Handbook. 

Sword and Sorcery_ 

A grim, hulking fighter disembowels the high priest 
of the serpent god on his own altar. A laughing rogue 
spends ill-gotten gains on cheap wine in filthy taverns. 
Hardy adventurers venture into the unexplored jungle in 
search of the fabled City of Golden Masks. 

A sword-and-sorcery campaign emulates some of the 
classic works of fantasy fiction, a tradition that goes 
back to the roots of the game. Here you’ll find a dark, 
gritty world of evil sorcerers and decadent cities, where 



Starting Equipment 

Character Level Low Magic Campaign 

Normal starting equipment 
500 gp plus IdlO x 25 gp, 
normal starting equipment 


1st—4th 
5th—10th 


llth—16th 


17 th—20 th 


5,000 gp plus IdlO x 250 gp, 
one uncommon magic item, 
normal starting equipment 

20,000 gp plus IdlO x 250 gp, 
two uncommon magic items, 
normal starting equipment 



Standard Campaign 
Normal starting equipment 
500 gp plus IdlO x 25 gp, 
normal starting equipment 

5,000 gp plus IdlO x 250 gp, 
two uncommon magic items, 
normal starting equipment 

20,000 gp plus IdlO x 250 gp, 
two uncommon magic items, 
one rare item, normal starting 
equipment 




High Magic Campaign 

Normal starting equipment 
500 gp plus IdlO x 25 gp, 
one uncommon magic item, 
normal starting equipment 
5,000 gp plus IdlO x 250 gp, 
three uncommon magic items, 
one rare item, normal starting 
equipment 

20,000 gp plus IdlO x 250 gp, 
three uncommon magic items, 
two rare items, one very rare item, 
normal starting equipment 



CHAPTER 1 


\ WORLD Of YOU R OWN 









































£ 


:he protagonists are motivated more by greed and self- 
imerest than by altruistic virtue. Fighter rogue, and 
: srbarian characters tend to be far more common than 
wizards, clerics, or paladins, in such a pulp fantasy 
—■.ting, those who wield magic often symbolize the 
ir cade nee and corruption of civilization, and wizards 
ire the classic villains of these settings. Magic items are 
.- refore rare and often dangerous. 

. main Dungeons & Dragons novels follow in the 
•steps of classic sword-and-sorcery novels. The world 
Athas (as featured in numerous Dark Sun novels and 
game products), with its heroic gladiators and tyrannical 
- rcerer-kings, belongs squarely in this genre. 


cpic Fantasy 


\ devout paladin in gleaming plate armor braces her 
lance as she charges a dragon. Bidding farewell to his 
at love, a noble wizard sets forth on a quest to close 
Ihe gate to the Nine Hells that has opened in the remote 
wilderness, A close-knit band of loyal friends strives to 
rcome the forces oi a tyrannical overlord, 

\n epic-fantasy campaign emphasizes the conflict 

- tween good and evil as a prominent element 
the game, with the adventurers more or less 

- qua rely on the side of good. These characters 
are heroes in the best sense, driven by a higher 
purpose than selfish gain or ambition, and facing 

edible dangers without blinking. Characters 
it ght struggle with moral quandaries, fighting 
: evil tendencies within themselves as well as 

evil that threatens the world. And the stories of 
:ese campaigns often include an element of romance: 
tragic affairs between star-crossed lovers, passion that 
'unscends even death, and chaste adoration between 
jevout knights and the monarchsand nobles they serve. 

The novels of the Dragonlance saga exemplify the 
Ira dilion of epic fantasy in D&D. 


Mythic Fantasy 


V, de an angry god tries time and again to destroy him, 
i lever rogue makes the long journey home from war. 

- rwing the terrifying guardians of the underworld, a 

r hie warrior ventures into the darkness to retrieve the 
>: ui of her lost love. Calling on their divine parentage, 
a group of demigods undertake twelve labors to win the 
a blessings for other mortals, 

\ mythic-fantasy campaign draws on the themes and 

- ries of ancient myth and legend, from Gilgamesh 

. -i Chulainn. Adventurers attempt mighty feats of 
gend, aided or hindered by the gods or their agents— 
nd they might have divine blood themselves. The 
Asters and villains they face probably have a similar® 
pin. The minotaur in the dungeon isn't just another 
beaded humanoid, but the Minotaur—misbegotten 
“Apring of a philandering god. Adventures might lead 
r heroes through a series of trials to the realms of the 

- js in search of a gift or favor, 

Such a campaign can draw on the myths and legends 
any culture, not just the familiar Greek 




o 

© 



















Mystery 


Dar k Fan tasy _ 

Vampires brood on the battlements of their accursed 
castles. Necromancers toil in dark dungeons to create 
horrid servants made of dead flesh. Devils corrupt the 
innocent, and werewolves prowl the night. All of these 
elements evoke horrific aspects of the fantasy genre. 

If you want to put a horror spin on your campaign, 
you have plenty of material to work with. The Monster 
Manual is full of creatures that perfectly suit a storyline 
of supernatural horror. The most important element of 
such a campaign, though, isn’t covered by the rules, A 
dark-fantasy setting requires an atmosphere of building 
dread, created through careful pacing and evocative 
description. Your players contribute too; they have to 
be willing to embrace the mood you're trying to evoke. 
Whether you want to run a full-fledged dark-fantasy 
campaign or a single creepy adventure, you should 
discuss your plans with the players ahead of time to 
make sure they're on board. Horror can be intense 
and personal, and not everyone is comfortable with 
such a game. 

Novels and game products set in Ravenloft, the 
Demiplane of Dread, explore dark-fantasy elements in a 
D&D context. 

Intrigue 

The corrupt vizier schemes with the baron's oldest 
daughter to assassinate the baron. A hobgoblin army 
sends doppelganger spies to infiltrate the city before the 
invasion. At the embassy balk the spy in the royal court 
makes contact with his employer. 

Political intrigue, espionage, sabotage, and similar 
cloak-and-dagger activities can provide the basis for 
an exciting D&D campaign. In this kind of game, the 
characters might care more about skill training and 
making contacts than about attack spells and magic 
weapons. Roleplaying and social interaction take on 
greater importance than combat, and the party might go 
for several sessions without seeing a monster. 

Again, make sure your players know ahead of time 
that you want to run this kind of campaign. Otherwise, 
a player might create a defense-focused dwarf paladin, 
only to find he is out of place among half-elf diplomats 
and tiefling spies. 

The Brimstone Angels novels by Erin M. Evans focus 
on intrigue in the Forgotten Realms setting, from the 
backstabbsng politics of the Nine Hells to the contested 
succession of Cor my re an royalty. 


Who stole three legendary magic weapons and hid them 
away in a remote dungeon, leaving a cryptic clue to their 
location? Who placed the duke into a magical slumber, 
and what can be done to awaken him? Who murdered 
the guildmaster, and how did the killer get into the 
guild's locked vault? 

A mystery-themed campaign puts the characters in 
the role of investigators, perhaps traveling from town 
to town to crack tough cases the local authorities can t 
handle. Such a campaign emphasizes puzzles and 
problem-solving in addition to combat prowess, 

A larger mystery might even set the stage for the 
whole campaign. Why did someone kill the characters’ 
mentor, setting them on the path of adventure? Who 
really controls the Cult of the Red Hand? In this case, 
the characters might uncover clues to the greater 
mystery only once in a while; individual adventures 
might be at best tangentially related to that theme, A 
diet of nothing but puzzles can become frustrating, so 
be sure to mix up the kinds of encounters you present. 

Novels in various D&D settings have explored the 
mystery genre with a fantasy twist. In particular. Murder 
in Cormyr (by Chet Williamson). Murder in Halruaa (by 
Richard S, Meyers), and SpeUstonn (by Ed Greenwood) 
are mysteries set in the 1 Forgotten Realms. Murder 
in Tarsis (by John Maddox Roberts) takes the same 
approach in the Dragon lance setting. 

Swashbuckling 

Rapier-wielding sailors fight off boarding sahuagin. 
Ghouls lurk in derelict ships, waiting to devour treasure 
hunters. Dashing rogues and charming paladins weave 
their way through palace intrigues and leap from 
balconies onto waiting horses below. 

The swashbuckling adventures of pirates and 
musketeers suggest opportunities for a dynamic 
campaign. The characters typically spend more 
time in cities, royal courts, and seafaring vessels 
than in dungeon delves, making interaction skills 
important (though not to the extent of a pure intrigue 
campaign). Nevertheless, the heroes might end up in 
classic dungeon situations, such as searching storm 
sewers beneath the palace to find the evil duke’s 
hidden chambers. 

A good example of a swashbuckling rogue in the 
Forgotten Realms is jack Raven wild, who appears in 
nove 1 s by R ic hard Ba ke r (67 tv of Ravens and Prinee 
of Ravens). 

War 

A hobgoblin army marches toward the city, leading 
elephants and giants to batter down the stronghold’s 
walls and ramparts. Dragons wheel above a barbarian 
horde, scattering enemies as the raging warriors 
cut a swath through field and forest. Salamanders 
muster at an efreeti's command, poised to assault an 
astral fortress. 
















Warfare in a fantasy world is rife tth opportunities 
lor dveuture. A war campaign isn't generally concerned 

- : the specifics of troop movements, but instead 

• uses on the heroes whose actions turn the tide of 
: - . The characters carry out specific missions: 

re a magical standard that empowers undead 
am:es, gather reinforcements to break a siege, or 

- -rough the enemy’s flank to reach a demonic 

- - ander. In other situations, the party supports 

_er army by holding a strategic location until 
p-m:: c ements arrive, killing enemy scouts before 

can report, or cutting off supply lines. Information 
ring and diplomatic missions can supplement the 
BD' j - combat-oriented adventures, 

1 - W ar of the Lance in the Dragonlance Chronicles 
:; s and the War of the Spider Queen in the novel 
5 rd - d" the same name are prominent examples of 

- 5 rs in D&D novels, 

Wuxi a 

•ten a sensei disappears mysteriously, her young 
3 E 3 is must take her place and hunt down the oni 
terrorizing their village. Accomplished heroes, masters 
rftrrir respective martial arts, return home to free their 
_ c- from an evil hobgoblin warlord. The rakshasa 
r c- ^ of a nearby monastery performs rituals to raise 
tec bled ghosts from their rest, 

- ampaign that draws on elements of Asian martial- 
w' - movies is a perfect match for D&D. Players can 
ferir the appearance of their characters and gear 

wo* : r they like for the campaign, and spells need only 
-n=r> r flavor changes so that they better reflect such a 

- For example, when the characters use spells 
«r special abilities that teleport them short distances. 

. nually make high-flying acrobatic leaps. Ability 
mu -is to climb don’t involve careful searching for holds 
bn - characters bounce up walls or from tree to tree. 

j : rs stun their opponents by striking pressure 
peir-is Flavorful descriptions of actions in the game 

- j hange the nuts and bolts of the rules, but they 
Ti.— all the difference in the feel of a campaign. 

S milarly, a class doesn't need new rules to reflect 
i -- total influence; a new name can do the trick. A 
-a nal Chinese wuxia hero might be a paladin 
mr,-: - as a sword called the Oath of Vengeance, while a 
- cse samurai might be a paladin with a particular 
, - f Devotion (j bushido ) that includes fealty to a 
ter iaimyo) among its tenets, A ninja is a monk who 
- :es the Way of Shadow. Whether called a wu jen, 
i 1 5 Lkai, or a swami, a wizard, sorcerer, or warlock 
- - - iter works just fine in a game inspired by medieval 
an cultures. 

Ifvxi a Weapon Names 

r players refer to a tetsuho or a katana rather than 
i ^ t :lub or a longsword can enhance the flavor of 
i - via campaign. The Wuxia Weapon Names table 
~ - alternative names for common weapons from 
t P!a\ ers Handbook and identifies their real-world 


cultural origins. An alternative name changes none of 
the weapons properties as they are described in the 
Player s Ha n db ook . 


Crossing the Streams __ 

The renowned paladin Murlynd, from the world of 
Oertb (as featured in Grey hawk novels and game 
products), dresses in the traditional garb of Earth’s 
Old West and wears a pair of six-shooters strapped 
to his waist The Mace of St. Cuthbert. a holy weapon 
belonging to Grey hawk’s god of justice, found its way 
to the Victoria and Albert Museum in London in 1985, 
Somewhere in the Barrier Peaks of Oerth, the wreckage 
of a spacefaring vessel is said to lie, w ith bizarre alien 
Hfeforms and strange items of technology on board. And 
the famous wizard Elminster of the Forgotten Realms 
has been said to make occasional appearances in the 
kitchen of Canadian writer Ed Greenwood—where he is 
sometimes joined by wizards from the worlds of Gerth 
and Krynn (homeworkl of the Dragonlance saga). 

Deep in D&D’s roots are elements of science 
fiction and science fantasy, and your campaign might 
draw on those sources as well. It’s okay to send your 
characters hurtling through a magic mirror to Lewis 
Carroll s Wonderland, put them aboard a ship traveling 
between the stars, or set your campaign in a far-future 
world where laser blasters and magic missiles exist 
side by side. The possibilities are limitless. Chapter 
9, “Dungeon Master's Workshop," provides tools for 
exploring those possibilities. 


Wuxia Weapon Names 


Weapon 

Battleaxe 

Club 

Dagger 

Dart 

Flail 

CJaive 

Greatctub 

Greats word 

Halberd 

Handaxe 

Javelin 

Lance 

Longbow 

Longsword 

Mace 

Pike 

Quarterstaff 

Scimitar 

Shortbow 

Shortsword 

Sickle 

Spear 

Trident 

War pick 


Other Names (Culture) 

fu (China); masakari (Japan) 

bian (China); tonfa (Japan) 

bishou , tamo (China); kozuka P tanto (Japan) 

sburiken (Japan) 

mnehaku (Japan) 

guandao (China); bisento, naginata (Japan) 
tetsuho (Japan) 

changdao (China); nodachs (Japan) 
ji (China); kamayari (japan) 
ono (Japan) 

man (China); uchi-ne (Japan) 

umayari (Japan) 

daikyu (Japan) 

jicm (China); katana (Japan) 

chut (China); karnbo (Japan) 

mao (China); nagaeyan (japan) 

gun (China); bo (Japan) 

liuyedao (China); wakizashi (japan) 

hankyu (Japan) 

shuangdao (China) 

kama (Japan) 

qiang (China); yan (japan) 

cha (China); magariyari (japan) 

fang (China); kuwa (Japan) 


jf YOUR u 


ri \ 


WK 


CHAPTER 1 


V W O R L E 








































Chapter 2: Creating a Multiverse 



HEN ADVENTURERS REACH HIGHER LEVELS, 
their path extends to other dimensions of 
reality; the planes of existence that form the 
multiverse. The characters might be called 
on to rescue a friend from the horrific depths 
of the Abyss or to sail the shining waters of 
the River Ocean us. They can hoist a tankard 
he friendly giants of Ysgard or face the chaos of 
bo to contact a wizened githzerai sage. 

7 anes of existence define the extremes of strange 
■sc rfeen dangerous environments. The most bizarre 
■aliens present settings undreamed of in the natural 
- : Planar adventures offer unprecedented dangers 
nders. Adventurers walk on streets made of solid 
- test their mettle on a battlefield where the fallen 
i~- - n rrected with each dawn. 


_ he Planes 


TV various planes of existence are realms of myth 
^ ; mystery. They're not simply other worlds, but 
r ensions formed and governed by spiritual and 
s-mental principles. 

The Outer Planes are realms of spirituality and 
Jit. They are the spheres where celestials, fiends, 
j Odes exist. The plane of Elysium, for example, 
isc merely a place where good creatures dwell, and not 
r simply the place where spirits of good creatures 
when they die. It is the plane of goodness, a spiritual 
reai where evil can t flourish. It is as much a state of 
tesng and of mind as it is a physical location. 

inner Planes exemplify the physical essence 
i - : elemental nature of air, earth, fire, and water. 

TV Elemental Plane of Fire, for example, embodies 

V essence of fire. The plane's entire substance is 
Vsed with the fundamental nature of fire: energy, 
ssiom transformation, and destruction. Even objects 
- lid brass or basalt seem to dance with flame, in a 

?le and palpable manifestation of the vibrancy of 
- dominion. 

mis context, the Material Plane is the nexus where 
hese philosophical and elemental forces collide in 
tumbled existence of mortal life and matter. The 
* of D&D exist within the Material Plane, making 

: starting point for most campaigns and adventures. 
The rest of the multiverse is defined in relation to the 

V -rial Plane, 

Planar Categories _ 

" - - p l a ne s of the de fau 11 D & D co sinology a re g rou pe d 
following categories: 

The Material Plane and Its Echoes, The Fey wild and 
Shadowfdl are reflections of the Material Plane, 
Ve Transitive Planes, The Ethereal Plane and the 
Viral Plane are mostly featureless planes that 
serve primarily as pathways to travel from one plane 
: another. 


The Inner Planes, The four Elemental Planes (Air, 
Earth, Fire, and Water), plus the Elemental Chaos that 
surrounds them, are the Inner Planes. 

The Outer Planes, Sixteen Outer Planes correspond 
to the eight non-neutral alignments and shades of 
philosophical difference between them. 

The Positive and Negative Planes, I hese two planes 
enfold the rest of the cosmology, providing the raw 
forces of life and death that underlie the rest of 
existence in the multiverse. 

Putting the Planes Together 

As described in the Player s Handbook, the assumed 
D&D cosmology includes more than two dozen planes. 
For your campaign, you decide what planes to include, 
inspired by the standard planes, drawn from Earth's 
myths, or created by your own imagination. 

At minimum, most D&D campaigns require 
these elements: 

■ A plane of origin for fiends 

* A plane of origin for celestials 

* A plane oForigin for elementals 

* A place for deities, which might include any or all of 
the previous three 

* The place where mortal spirits go after death, which 
might include any or all of the first three 

* A way of getting from one plane to another 

* A way for spells and monsters that use the Astra l 
Plane and the Ethereal Plane to function 

Once you've decided on the planes you want to use in 
your campaign, putting them into a coherent cosmology 
is an optional step. Since the primary way of traveling 
from plane to plane, even using the Transitive Planes, 
is through magical portals that link planes together, the 
exact relationship of different planes to one another is 
largely a theoretical concern. No being in the multiverse 
can look down and see the planes in their arrangement 
the same wav as we look at a diagram in a book. No 
mortal can verify whether Mount Celestia is sandwiched 
between Bytopia and Arcadia, but it’s a convenient 
theoretical construct based on the philosophical 
shading among the three planes and the relative 
importance they give to law and good. 

Sages have constructed a few such theoretical models 
to make sense of the jumble of planes, particularly the 
Outer Planes. The three most common are the Great 

Inventing Your Own Planes 

Each of the planes described in this chapter has at least 
one significant effect on travelers who venture there. When 
you design your own planes, rt r s a good idea to stick to 
that model. Create one simple trait that players notice, that 
doesn't create too much complication at the gaming table, 
and that’s easy to remember. Try to reflect the philosophy and 
mood of the place, not merely its physical characteristics. 


G H A PTE R 2 ] C R F A FI NG A M U LTIV K USB 









Wheel, the World Tree, and the World Axis, but you 
can create or adapt whatever model works best for the 
planes you want to use in your game. 

The Great Wheel 

The default cosmological arrangement presented 
in the Player's Handbook visualizes the planes as a 
group of concentric wheels, with the Material Plane 
and its echoes at the center. The Inner Planes form 
a wheel around the Material Plane, enveloped in the 
Ethereal Plane. Then the Outer Planes form another 
wheel around and behind (or above or below) that one, 
arranged according to alignment, with the Outlands 
linking them all 

This arrangement makes sense of the way the River 
Styx flows among the Lower Planes, connecting 
Acheron, the Nine Hells, Gehenna, Hades, Career!, the 
Abyss, and Pandemonium like beads on a string. But its 
not the only possible explanation of the river’s course. 

The World Tree 

A different arrangement of planes envisions them 
situated among the roots and branches of a great cosmic 
tree, literally or figuratively. 

For example, the Norse cosmology centers on the 
World Tree VggdrasiL The three roots of the World 
Tree touch the three realms: Asgard (an Outer Plane 
that includes Valhalla, Vanaheim, Alfheim, and other 
regions), Midgard (the Material Plane), and Niflheim 
(the underworld). The Bifrost, the rainbow bridge, 
is a unique transitive plane that connects Asgard 
and Midgard. 

Similarly, one vision of the planes where the deities 
of the Forgotten Realms reside situates a number of 
celestial planes in the branches of a World Tree, while 
the fiendish planes are linked by a River of Blood. 
Neutral planes stand apart from them. Each of these 
planes is primarily the domain of one or more deities, 
though they are also the homes of celestial and fiendish 
creatures. 

The World Axis 

In this view of the cosmos, the Material Plane and its 
echoes stand between two opposing realms. The Astral 
Plane (or Astral Sea) floats above them, holding any 
number of divine domains (the Outer Planes). Below 
the Material Plane is the Elemental Chaos, a single, 
undifferentiated elemental plane where all the elements 
clash together. At the bottom of the Elemental Chaos is 
the Abyss, like a hole torn in the fabric of the cosmos. 

Other Visions 

As you build your own cosmology, consider the 
following alternatives. 

The Omniverse, This simple cosmology covers the 
bare minimum: a Material Plane; the Transitive Planes: 
a single Elemental Chaos; an Overheaven, where good' 
aligned deities and celestials live; and the Underworld, 
where evil deities and fiends live, 

Myriad Planes, In this cosmology, countless planes 
clump together like soap bubbles, intersecting with each 
other more or less at random. 


The Orrery ; All the Inner and Outer Planes orbit the 
Material Plane, exerting greater or lesser influence on 
the world as they come nearer and farther. The world of 
Eberron uses this cosmological model 

The Winding Road, In this cosmology, every plane is 
a stop along an infinite road. Each plane is adjacent to 
two others, but there’s no necessary cohesion between 
adjacent planes; a traveler can walk from the slopes of 
Mount Celestia onto the slopes of Gehenna, 

Mount Olympus, In the Greek cosmology, Mount 
Olympus stands at the center of the world (the Material 
Plane), with its peak so high that it's actually another 
plane of existence; Olympus, the home of the gods. All 
the Greek gods except Hades have their own domains 
within Olympus. In Hades, named for its ruler, mortal 
souls linger as insubstantial shades until they eventually 
fade into nothing, Tartarus, where the titans are 
imprisoned in endless darkness, lies below Hades. And 
far to the west of the known world in the Material Plane 
are the blessed Elysian Fields. The souls of great heroes 
reside there. 

Solar Barge, The Egyptian cosmology is defined by 
the daily path of the sun—across the sky of the Material 
Plane, down to the fair Offering Fields in the west, 
where the souls of the righteous live in eternal reward, 
and then beneath the world through the nightmarish 
Twelve Hours of Night. The Solar Barge is a tiny Outer 
Plane in its own right, though it exists within the Astral 
Plane and the other Outer Planes in the different stages 
of its journey. 

One World , In this model, there are no other 
planes of existence, but the Material Plane includes 
places like the bottomless Abyss, the shining Mount 
Celestia, the strange city of Mechanus. the fortress of 
Acheron, and so on. All the planes are locations in the 
w^orId t reachable by ordinary means of travel—though 
extraordinary effort is required, for example, to sail 
across the sea to the blessed isles of Elysium. 

The Otherworld * In this model, the Material Plane 
has a twin realm that fills the role of all the other planes. 
Much like the Fey wild, it overlays the Material Plane 
and can be reached through “thin places" where the 
worlds are particularly close: through caves, by sailing 
far across the sea T or in fairy rings in remote forests. It 
has dark, evil regions (homes of fiends and evil gods), 
sacred isles (homes of celestials and the spirits of the 
blessed death), and realms of elemental fury. This 
otherworld is sometimes overseen by an eternal city, or 
by four cities that each represent a different aspect of 
reality. The Celtic cosmology has an otherworld, called 
Tfr na ndg, and the cosmologies of some religions 
inspired by Asian myth have a similar Spirit World. 

Planar Travel 

When adventurers travel to other planes of existence, 
they undertake a legendary journey that might force 
them to face supernatural guardians and undergo 
various ordeals. The nature of that journey and the trials 
along the way depend in part on the means of travel, and 
whether the adventurers find a magic portal or use a 
spell to carry them. 


CHAPTER 2 ! CREATING A M l ■ L,T I \ I.RSE 











Planar Portals 

[RasstUrt’sj eyes studied the PortciL studied every detail 
mcndy— although it was not really necessajy. He had seen 
T • had times in dreams both sleeping and waking, The 
. ells to open it were simple, nothing elaborate or complex. 
E ich of the five dragon heads surrounding and guarding 
Portal must be propitiated with the correct phrase. Each 
- be spoken to in the proper order. But. once that was 
v and the White-Robed Cleric had exhorted Paladine 
m intercede and hold the Portal open, they would enter. 

’; ould dose behind them. 

A nd he would face his greatest challenge. 

Margaret Weis & Tracy Hickman, War of the Twins 

rtal’" is a general term Tor a stationary interplanar 
c section that links a specific location on one plane 
Id a specific location on another. Some portals function 
b- • doorways, appearing as a clear window or a fog- 
m rcuded passage, and interplanar travel is as simple 

- stepping through the doorway. Other portals are 

ations—circles of standing stones, soaring towers, 
ng ships, or even whole towns—that exist in 
m pie planes at once or flicker from one plane to 
peother. Some are vortices, joining an Elemental Plane 
mnih a very similar location on the Material Plane, such 

- - heart of a volcano (leading to the Plane of Fire) or 

- icptlis of the ocean (to the Plane of Water). 

- -sing through a planar portal can be the simplest 
~ tc travel from the Material Plane to a desired 
location on another plane. Most of the time, though, a 
postal presents an adventure in itself. 

F rsi. the adventurers must find a portal that leads 

* they want to go. Most portals exist in distant 
■ >ns r and a portal's location often has thematic 

si T: • rities to the plane it leads to. For example, a portal 
~ : heavenly mountain of Celestia might be located 
mountain peak. 

:ond, portals often have guardians charged with 

* airing that undesirable people don't pass through. 
Depending on the portal s destination, “ undesirable 

:* ' might include evil characters, good characters, 

a rds. thieves, anyone wearing a robe, or any mortal 

* ' iture. A portal s guardian is typically a powerful 
r igical creature, such as a genie, sphinx, titan, or 
mi of the portal's destination plane. 

1 nally, most portals don't stand open all the time, 
pen only in particular situations or when a certain 
' ;irement is met. A portal can have any conceivable 
- Virement, but the following arc the most common: 

Time. The portal functions only at particular times: 

“uring a full moon on the Material Plane, or every ten 
da> s, or when the stars are in a particular position. 

C nee it opens, such a portal remains open for a 
mited time, such as for three days following the full 
n, or for an hour, or for ld4 + 1 rounds. 

S cation. The portal functions only if a particular 
: lit ion is met. A situation-keyed portal opens 


m 


on a clear night, or when it rains, or when a certain 
spell is cast in its vicinity. 

Random. A random portal functions for a random 
period, then shuts down fora similarly random 
duration. Typically such a portal allows ld6 + 

6 travelers to pass through, then shuts down 
for Id6 days. 

Command Word. The portal functions only if a 
particular command word is spoken. Sometimes the 
word must be spoken as a character passes through 
the portal (which is otherwise a mundane doorway, 
window, or similar opening). Other portals open when 
the command word is spoken and remain open for a 
short time. 

Key. The portal functions if the traveler is holding a 
particular object: the item acts much like a key to 
a door. This key item can be a common object or a 
particular key created for that portal. The city of Sigil 
above the Outlands is known as the City of Doors 
because it features an overwhelming number of such 
item-keyed portals. 

Learning and meeting a portal's requirements can 
draw characters into further adventures as they chase 
down a key item, scour old libraries for command 
words, or consult sages to find the right time 
to visit the portal. 











circle, but such knowledge is even harder to come 
by than ihe specifications of the required tuning 
fork. Otherwise, the spell transports the caster to 
a location in the general vicinity of the desired spot. 
Wherever the adventurers arrive, they'll most likely 
still need to undertake a journey to reach the object or a 
planar quest. 

Gate* The gate spell opens a portal linked to a specific 
point on another plane of existence. The spelt provides 
a shortcut to a planar destination, bypassing many of 
the guardians and trials that would normally fill such 
a journey. But this 9th-level spell is out of reach for all 
but the most powerful characters, and it does nothing t 
negate any obstacles that wait at the destination. 

The gate spell is powerful, but not infallible. A deity, 
demon lord, or other powerful entity can prevent such a 
portal from opening within its dominion. 


Spells 


Sarya raised her hands and began to declaim the words of 
a very powerful spell one of the most dangerous she knew, 
a spell designed to breach the barriers between the planes 
and create a magical bridge into another realm of existence. 
The mythal thrummed in response . the intangible pulse of 
the old device taking on a new and different note. Sarya 
ignored the mythal sto n e's cb ange and pressed on, finishing 
her gate spell with skill and confidence. 

“Th e ga te is open!" she cried. "Matkizid t come forth !" 

Before Sarya a great ring or hoop of golden magic 
coalesced from the air. Through it she glimpsed the realm 
of Malkizid, an infernal wasteland of parched desert , 


windswept rifts , and black , angrj? skies torn by crimson 
lightning. Then , through thegote, the archdevil Malkizid 


Astral Plane 


appeared . With one smooth step he crossed from his 
infernal plane into the my thal chamber . 

—Richard Baker, Farthest Reach 

A number of spells allow direct or indirect access to 
other planes of existence. Plane shift and gate can 
directly transport adventurers to any other plane, with 
different degrees of precision. Etherealness allows 
adventurers to enter the Ethereal Plane, And the astral 
projection spell lets adventurers project themselves 
into the Astral Plane and from there travel to the 
Outer Planes. 

Plane Shift The plane shift spell has two important 
limitations. The first is the material component: a 
small, forked, metal rod (like a tuning fork) attuned to 
the desired planar destination. The spell requires the 
proper resonating frequency to home in on the correct 
location, and the fork must be made of the right material 
(sometimes a complex alloy) to focus the spell's magic 
properly. Crafting the fork is expensive (at least 250 gp). 
but even the act of researching he correct specifications 
can lead to adventure. After all, not many people 
voluntarily travel into the depths of Carceri, so very few 
know what kind of tuning fc rk is required to get there. 

Second, the spell doesn't send the caster to a specific 
location unless he or she has specialized information. 
The sigil sequence of a teleportation circle located on 
another plane allows the caste: tc travel directly to that 


Hdfsstra opened her eyes and found herself drifting in 
an endless silver sea. Soft gray clouds moved slowly in 
the distance, while strange dark streaks twisted violently 
through the sky , anchored m ends so distant she couldnt 
perceive them, their middle parts revolving angrily like 
pieces of string rolled between a child's fingertips. She 
glanced down, wondering what supported her, and saw 
nothing but more of the strange pearly sky beneath her fee: 
and all around her 

She drew in a sudden breath , surprised by the sight, and 
felt her lungs fill with something sweeter and perhaps a littk 
more solid than air but instead of gagging or drowning 
on the stuff she seemed perfectly acclimated to it. An 
electric thrill raced through her limbs as she found herself 
mesmerized by the simple act of respiration. 

—Richard Baker, Condemnation 

The Astral Plane is the realm of thought and dream, 
where visitors travel as disembodied souls to reach 
the Outer Planes. It is a great silvery sea. the same 
above and below, with swirling wisps of white and gray 
streaking among motes of light like distant stars. Most 
of the Astral Sea is a vast, empty expanse. Visitors 
occasionally stumble upon the petrified corpse of a 


CHAPTER 2 


CREATING \ M 



















w 1 mm 


dead god or other chunks of rock drifting forever in the 
silvery void. Much more commonplace are color pools— 
magical pools of colored light that flicker like radiant, 
spinning coins. 

Creatures on the Astral Plane don’t age or suffer from 
hunger or thirst. For this reason* humanoids that live 
on the Astral Plane (such as the githyanki) establish 
outposts on other planes, often the Material Plane, so 
their children can grow to maturity* 

A traveler in the Astral Plane can move by simply 
thinking about moving, but distance has little meaning. 

In combat, though, a creatures walking speed (in feet) is 
equal to 3 * its Intelligence score. The smarter a creature 
is. the easier it can control its movement by act of will. 


Astral Projection 


Traveling through the Astral Plane by means of 
the astral projection spell involves projecting one's 
consciousness there, usually in search of a gateway to an 
Outer Plane to visit Since the Outer Planes are as much 
spiritual states of being as they are physical places* this 
allows a character to manifest in an Outer Plane as if he 
*r she had physically traveled there, but as in a dream. 

A character's death—either in the Astral Plane or on 
■.he destination plane- causes no actual harm* Only the 
severing of a character's silver cord while on the Astral 
z, lane (or the death of his or her helpless physical body 
>n the Material Plane) can result in the character's true 
ieath. Thus, high-level characters sometimes travel to 
■.he Outer Planes by way of astral projection rather than 
>eek out a portal or use a more direct spell 
Only a few things can sever a traveler’s silver cord, the 
most common being a psychic wind (described below). 
The legendary silver swords of the githyanki also have 
hi is ability. A character who travels bodily to the Astral 
^iane (by means of the plane shift spell or one of the 
rare portals that leads directly there) has no silver cord. 


Color Pools 


Gateways leading from the Astral Plane to other 
planes appear as two-dimensional pools of rippling 
dors, ld6 x 10 feet in diameter. Traveling to another 
plane requires locating a color pool that leads to the 
r sired plane. These gateways to other planes can be 
. zentified by color, as shown on the Astral Color Pools 
able. Finding the right color pool is a matter of chance: 
rating the correct one takes Id4 * 10 hours of travel. 


Astral Color Pools 


d20 

Plane 

Pool Color 

1 

Ysgard 

Indigo 

2 

Limbo 

Jet black 

3 

Pandemonium 

Magenta 

4 

The Abyss 

Amethyst 

5 

Career! 

Olive 

6 

Hades 

Rust 

7 

Gehenna 

Russet 

3 

The Nine Hells 

Ruby 

9 

Acheron 

Flame red 

10 

Mechanus 

Diamond blue 

n 

Arcadia 

Saffron 

12 

Mount Celestia 

Gold 

13 

Bytopia 

Amber 

14 

Elysium 

Orange 

15 

The Beastlands 

Emerald green 

16 

Arborea 

Sapphire blue 

17 

The Gutlands 

Leather brown 

IS 

Ethereal Plane 

Spiraling white 

19-20 

Material Plane 

Silver 


Psychic Wind 


A psychic wind isn't a physical wind like that found on 
the Material Plane, but a storm of thought that batters 
travelers’ minds rather than their bodies. A psychic 
wind is made up oflost memories, forgotten ideas, 
minor musings* and subconscious fears that went 
astray in the Astral Plane and conglomerated into this 
powerful force. 

A psychic wind is first sensed as a rapid darkening of 
the silver-gray sky. After a few rounds, the area becomes 
as dark as a moonless night. As the sky darkens, the 
traveler feels buffeting and shaking* as if the plane itself 
was rebelling against the storm. As quickly as it comes* 
the psychic wind passes, and the sky returns to normal 
in a few rounds. 

The psychic wind has two kinds of effects: a 
location effect and a mental effect. A group of travelers 
journeying together suffers the same location effect. 
Each traveler affected by the wind must also make a 
DC 15 Intelligence saving throw. On a failed save, the 
traveler suffers the mental effect as well Roll a d20 
twice and consult the Psychic Wind Effects table to 
determine the location and mental effects. 


CHAPTER 2 | CREATING A MULTI VERSE 


47 

















Psychic Wind Effects 

d20 Location Effect 

1-8 Diverted; add 1 d6 hours to travel time 
9-12 Blown off course; add 3dl0 hours to travel time 
13-16 Lost; at the end of the travel time, characters arrive 
at a location other than the intended destination 
17-20 Sent through color pool to a random plane (roll on 
the Astra! Color Pools table) 


Ethereal Plane 

Tomlin felt a hand on him, felt his body shimmer into 
mist. The screams and shouts sounded far off. The walls 
around him appeared to be only gray shadows. Rwalen 
and Brennus stood beside him. 

“The ethereal plane." Rivcilen said . “77ie dragons breath 
cannot affect us hereT 


d20 Mental Effect 


—Paul $. Kemp. Shadowstorn: 



1-8 Stunned for 1 minute; you can repeat the saving 
throw at the end of each of your turns to end the 
effect on yourself 

9-10 Short-term madness (see chapter 8) 

11-12 11 (2dl0) psychic damage 

13-16 22 (4dl0) psychic damage 

17-18 Long-term madness (see chapter 8) 

19-20 Unconscious for 5 (1 d 10) minutes; the effect on 
you ends if you take damage or if another creature 
uses an action to shake you awake 


Astral Plane Encounters 


Planar travelers and refugees from other planes wander 
the expanses of the Astral Plane. The most prominent 
denizens of the Astral Plane are the githyanki, an 
outcast race of reavers that sail sleek astral ships, 
slaughter astral travelers* and raid planes touched 
by the Astral. Their city. Tu’narath, floats through the 
Astral Plane on a chunk of rock that is actually the body 
of a dead god. 

Celestials, fiends, and mortal explorers often scour 
the Astral Plane for color pools leading to desired 
destinations. Characters who linger for too long 
in the Astral might have an encounter with one or 
more wandering angels, demons, devils, night hags, 
yugoloths, or other planar travelers. 


The Ethereal Plane is a misty, fog-bound dimension. 

Its “shores,' 1 called the Border Ethereal, overlap the 
Material Plane and the Inner Planes, so that every 
location on those planes has a corresponding location 
on the Ethereal Plane. Visibility in the Border Ethereal 
is limited to 60 feet. The planes depths comprise a 
region of swirling mist and fog called the Deep Ethereal, 
where visibility is limited to 30 feet. 

Characters can use the etherealness spell to enter 
the Border Ethereal, The plane shift spell allows 
transport to the Border Ethereal or the Deep Ethereal, 
but unless the intended destination is a specific location 
ora teleportation circle, the point of arrival could be 
anywhere on the plane. 

Border Ethereal 


From the Border Ethereal, a traveler can see into 
whatever plane it overlaps, but that plane appears muted 
and indistinct, its colors blurring into each other and 
its edges turning fuzzy. Ethereal denizens watch the 
plane as though peering through distorted and frosted 
glass, and can’t see anything beyond 30 feet into the 
other plane. Conversely, the Ethereal Plane is usually 
invisible to those on the overlapped planes, except with 
the aid of magic. 

Normally, creatures in the Border Ethereal can't 
attack creatures on the overlapped plane, and vice 
versa. A traveler on the Ethereal Plane is invisible and 
utterly silent to someone on the overlapped plane, and 
solid objects on the overlapped plane don’t hamper 
the movement of a creature in the Border Ethereal, 

The exceptions are certain magical effects (including 
anything made of magical force) and living beings. This 
makes the Ethereal Plane ideal for reconnaissance, 
spying on opponents, and moving around without beino 
detected. The Ethereal Plane also disobeys the laws 
of gravity; a creature there can move up and down as 
easily as walking. 

Deep Ethereal _ 

To reach the Deep Ethereal, one needs a plane shift 
spell or arrive by means of a gate spell or magical porta 
Visitors to the Deep Ethereal are engulfed by roiling 
mist. Scattered throughout the plane are curtains of 
vaporous color, and passing through a curtain leads a 
traveler to a region of the Border Ethereal connected to 
a specific Inner Plane, the Material Plane, the Fey wild, 
or the ShadowfelL The color of the curtain indicates the 
plane whose Border Ethereal the curtain conceals; sec 
the Ethereal Curtains table. 



















Ethereal Curtains 

dS Plane Color of Curtain 

1 Material Plane Bright turquoise 

2 Shadowfelf Dusky gray 

3 Feywild Opalescent white 

4 Plane of Air Pale blue 

5 Plane of Earth Reddish-brown 

6 Plane of Fire Orange 

7 P [ a n e of Wate r G ree n 

S Elemental Chaos Swirling mix of colors 

Traveling through the Deep Ethereal to journey from 
one plane to another is unlike physical travel* Distance 
is meaningless* so although travelers fed as if they can 
move by a simple act of will it's impossible to measure 
speed and hard to track the passage of time. A trip 
between planes through the Deep Ethereal takes Id 10 
x 10 hours, regardless of the origin and destination. In 
combat* however, creatures are considered to move at 
their normal speeds. 

Ether Cyclones _ 

An ether cyclone is a serpentine column that spins 
through the plane. The cyclone appears abruptly, 
distorting and uprooting ethereal forms in its path and 
carrying the debris for leagues. Travelers with a passive 
Wisdom (Perception) score of 15 or more receive ld4 
rounds of warning: a deep hum in the ethereal matter. 
Travelers who can t reach a curtain or portal leading 
elsewhere suffer the cyclone's effect. Rod a d20 and 
consult the Ether Cyclone table to determine the effect 
on all creatures in the vicinity. 

Ether Cyclone 

d20 Effect 

1-12 Extended journey 

13-19 Blown to the Border Ethereal of a random plane 
(roll on the Ethereal Curtains table] 

20 Hurled into the Astral Plane 

The most common effect of an ether cyclone is to 
extend the duration of a journey. Each character in a 
group traveling together must make a DC 15 Charisma 
saving throw. If at least half the group succeeds, travel 
is delayed by Id 10 hours. Otherwise* the journey's travel 
time is doubled. Less often, a group is blown into the 
Border Ethereal of a random plane. Rarely, the cyclone 
ars a hole in the fabric of the plane and hurls the party 
into the Astral Plane. 

Ethereal Pla ne Encount ers _ 

Most encounters in the Border Ethereal are with 
features on the Material Plane w T hose senses or 
abilities extend into the Ethereal Plane (phase spiders, 

- example)* Ghosts also move freely between the 
Ethereal and Material Planes* 

In the Deep Ethereal, most encounters are with other 
travelers* particularly ones from the Inner Planes (such 
i? elementals, genies. and salamanders), as well as the 
rasional celestial* fiend, or fey. 


Feywild 

Stepping into the portal was like settling into a warm bath, 
though the chill didn't fade from the air. At first everything 
muted—the roar of the river around fhe rocks below, the 
chirping of frogs and crickets on shore , the evening bustle of 
the town behind him .... A moment Inter, the world erupted 
into vibrant life. Frogs and night birds sang a chorus: the air 
was awash with outumn scents: the moon 1 ight painted the 
flowers in iridescent blue, silver, and violet: and the rushing 
of the river became a complex symphony. 

—James Wyatt, Oath of Vigilance 

The Feywild, also called the Plane of Faerie, is a land of 
soft lights and wonder, a place of music and death. It is a 
realm of everlasting twilight, with glittering faerie lights 
bobbing in the gentle breeze and fat fireflies buzzing 
through groves and fields. The sky is alight with the 
faded colors of an ever-setting sun, which never truly 
sets (or rises for that matter); it remains stationary, 
dusky and low in the sky* Away from the settled areas 
ruled by the seelie fey that compose the Summer Court, 
the land is a tangle of sharp-toothed brambles and 
syrupy fens—perfect territory for the unseelie fey to hunt 
their prey. 

The Feywild exists in parallel to the Material 
Plane, an alternate dimension that occupies the same 
cosmological space. The landscape of the Feywild 
mirrors the natural world but turns its features into 
spectacular forms. Where a volcano stands on the 
Material Plane, a mountain topped with skyscraper¬ 
sized crystals that glow w ith internal fire towers in the 
Feywild. A wide and muddy river on the Material Plane 
might be echoed as a clear and winding brook of great 
beauty. A marsh could be reflected as a vast black bog of 
sinister character. And moving to the Feywild from old 
ruins on the Material Plane might put a traveler at the 
door of an archfeyT castle. 

The Feywild is inhabited by sylvan creatures* such 
as elves, dryads, satyrs* pixies, and sprites, as well as 
centaurs and magical creatures such as blink dogs, 
faerie dragons* treants, and unicorns. The darker 
regions of the plane are home to such malevolent 
creatures as hags* blights, goblins* ogres* and giants. 


Seelie and Unseelie Fey 

Two queens hold court in the Feywild, and most fey owe 
allegiance to one or the other. Queen Titania and her 
Summer Court lead the seelie fey, and the Queen of Air and 
Darkness, ruler of the Gloaming Court, leads the unseelie fey, 
Seelie and unseelie do not directly correlate with good and 
evil, though many mortals make that equation. Many seelie 
fey are good, and many unseelie are evil, but their opposition 
to each other stems from their queens' jealous rivalry, not 
abstract moral concerns. Ugly denizens of the Feywild, such 
as fomortans and hags, are almost never members of either 
court, and fey of independent spirit reject the courts entirely. 
The courts have warred at times, but they also compete in 
more-or-less friendly contests and even ally with one another 
in small and secret ways. 

■ ■ 


C H A PI Efi 2 I C R EAT IN G A M U LTIV E R 3 E 












5T~ 




Fey crossings are places of mystery anti beauty on the 
Material Plane that have a near-perfect mirror in the 
Fey wild, creating a portal where the two planes touch, 

A traveler passes through a fey crossing by entering a 
clearing, wading into a pool stepping into a circle of 
mushrooms, or crawling under the trunk of a tree. To 
the Iraveler, it seems like he or she has simply walked 
into the Fey wild with a step. To an observer, the traveler 
is there one moment and gone the next. 

Like other portals between planes, most fey crossings 
open infrequently, A crossing might open only during 
a full moon, on the dawn of a particular day, or for 
someone carrying a certain type of item, A fey crossing 
can be closed permanently if the land on either side is 
dramatically altered—for example, if a castle is built 
over the clearing on the Material Plane. 

Optional Rules: Feywild Magic 


Tales speak of children kidnapped by fey creatures 
and spirited away to the Feywild, only to return to their 
parents years later without having aged a day, and 
with no memories of their captors or the realm they 
came from. Likewise, adventurers who return from ail 
excursion to the Feywild are often alarmed to discover 
upon their return that time flows differently on the 
Plane of Faerie, and that the memories of their visit 
are hazy. You can use these optional rules to reflect the 
strange magic that suffuses the plane. 


Memory Loss 

A creature that leaves the Feywild must make a DC 
10 Wisdom saving throw. Fey creatures automatically 
succeed on the saving throw, as do any creatures, like 
elves, that have the Fey Ancestry trait. A creature that 
fails the saving throw remembers nothing from its 
time spent in the Feywild. On a successful save, the 
creature's memories remain intact but are a little hazy. 
Any spell that can end a curse can restore the creature’s 
lost memories. 


Time Warp 

While time seems to pass normally in the Feywild, 
characters might spend a day there and realize, upon 
leaving the plane, that less or more time has elapsed 
everywhere else in the multi verse. 

Whenever a creature or group of creatures leaves 
the Feywild after spending at least 1 day on that plane, 
you can choose a time change that works best for your 
campaign, if any or roll on the Feywild Time Warp 
table. A wish spell can be used to remove the effect on 
up to ten creatures. Some powerful fey have the ability 
to grant such wishes and might do so if the beneficiaries 
agree to subject themselves to a geas spell and complete 
a quest after the wish spell is cast. 


Feywild Time Warp 


d20 

Result 

d20 

Result 

1-2 

Days become 

14-17 

Days become weeks 


minutes 

18-19 

Days become 

3-6 

Days become hours 


months 

7-13 

No change 

20 

Days become years 


Fey Crossings 



CHAPTER ( 1 ! CREATING A MULTI VERSE 




















Shadowfell 

Riven stood in the uppermost room of the central tower of 
his citadel—a fortress of shadows and dark stone carved in 

relief into the sheer face of a jagged peak _ The starless 

black vault of the plane's sky hung over a landscape of gray 
snd black, where lived the dark simulacra of actual things. 
Shadows and wraiths and specters and ghosts and other 
..ndead hung in the air around the citadel or prowled 
'he foothills and plains near it, so numerous their glowing 


Plane. Where a mountain stands on the Material Plane, 
the corresponding feature on the Shadowfell is a jagged 
rock outcropping with a resemblance to a skull, a heap 
of rubble, or perhaps the crumbling ruin of a once-great 
castle. A forest on the Shadowfell is dark and twisted, 
its branches reaching out to snare travelers’ cloaks, and 
its roots coiling and buckling to trip those who pass by. 

Shadow dragons and undead creatures haunt this 
bleak plane, as do other creatures that thrive in the 
gloom, including cloakers and darkmantles. 

Shadow Crossings 







eyes looked like swarms of fireflies. He felt the darkness in 
every thing he could see, felt it as an extension of himself 
o nd the feeling made him too big try half. 

—Paul S. Kemp. The Godborn 

The Shadowfell, also called the Plane of Shadow, is a 
dimension of black, gray, and white where most other 
rolor has been leached from everything. It is a place of 
darkness that hates the light, where the sky is a black 
• ault with neither sun nor stars. 

The Shadowfell overlaps the Material Plane in much 
*he same way as the Feywild. Aside from the colorless 
andscape, it appears similar to the Material Plane. 
Landmarks from the Material Plane are recognizable 
>n the Shadowfell, but they are twisted and warped- 
distorted reflections of what exists on the Material 




Similar to fey crossings, shadow crossings are locations 
where the veil between the Material Plane and the 
Shadowfell is so thin that creatures can walk from one 
plane to the other. A blot of shadow in the corner of a 
dusty crypt might be a shadow crossing, as might an 
open grave. Shadow crossings form in gloomy places 
where spirits or the stench of death lingers, such as 
battlefields, graveyards, and tombs. They manifest only 
in darkness, closing as soon as they feel light’s kiss. 


Domains of Dread 


In remote corners of the Shadowfell. it is easy to reach 
horrific demiplanes ruled over by accursed beings of 
terrible evil. The best known of these is the valley of 
Barovia, overlooked by the towering spires of Castle 
Ravenloft and ruled by Count Strahd von Zarovich, 
the first vampire. Beings of the Shadowfell called the 
Dark Powers created these domains as prisons for 












these 'darklords/' and through cruelty or carelessness 
trapped innocent mortals in these domains as well. 

Optional Rule: 

Shadowfell Despair _ 

A melancholic atmosphere pervades the Shadowfell 
Extended forays to this plane can afflict characters with 
despair, as reflected in this optional rule. 

When you deem it appropriate, though usually not 
more than once per day, you can require a character 
not native to the Shadowfell to make a DC 10 Wisdom 
saving throw. On a failure, the character is affected by 
despair. Roll a d6 to determine the effects, using the 
Shadowfell Despair table. You can substitute different 
despair effects of your own creation. 

Shadowfell Despair 

d6 Effect 

1-3 Apathy. The character has disadvantage on 

death saving throws and on Dexterity checks for 
initiative, and gains the following flaw: “I don't 
believe 1 can make a difference to anyone or 
anything/' 

4-5 Dread. The character has disadvantage on all 

saving throws and gains the following flaw: “I am 
convinced that this place is going to kill me," 

6 Madness. The character has disadvantage 

on ability checks and saving throws that use 
Intelligence, Wisdom, or Charisma, and gains the 
following flaw: “I can't tell what's real anymore/' 

If a character is already suffering a despair effect and 
fails the saving throw, the new despair effect replaces 
the old one. After finishing a long rest, a character 
can attempt to overcome the despair with a DC 15 
Wisdom saving throw, (The DC is higher because it’s 
harder to shake off despair once it has taken hold.) 

On a successful save, the despair effect ends for that 
character. 

A calm emotions spell removes despair, as does any 
spell or other magical effect that removes a curse. 


Evernight 

The city of Neverwinter in the world of the Forgotten Realms 
has a dark reflection on the Shadowfell: the city of Evernight. 
Evernight is a city of cracked stone edifices and homes of 
rotten wood. Its roads are made mostly of trampled grave 
dust, and its few cobbled streets are missing enough stones 
that they appear pockmarked. The sky is corpse gray, and the 
breeze blows cold and humid* bringing a chill to the skin. 

The city’s living residents include mad necromancers, 
corrupt purveyors of human flesh, worshipers of evil deities, 
and others who are able to make themselves useful and crazy 
enough to want to live here. But the living are a minority 
in Evernight, for the bulk of the population consists of the 
shambling dead. Zombies, wights, vampires, and other 
undead make the city their home, all under the watchful eyes 
of the ruling caste: intelligent flesh-eating ghouls. 

Rumors abound that this foul place mirrors one city on 
every world. 


Inner Planes 

He was lying on his back upon baked and smoldering stone, 
staring up at a smoky gray sky lit from distant and unseen 
fires. Around him , a sea of lava burped gouts of gas and jets 
offlame. The Elemental Plane office. 

Thank the fell ones. Vhok thought . / never thought id be 
so happy to be here . 

—Thomas M. Reid. The Gossamer Plain 

The Inner Planes surround and enfold the Material 
Plane and its echoes, providing the raw elemental 
substance from which all worlds were made. The four 
Elemental Planes—Air, Earth, Fire, and Water—form 
a ring around the Material Plane, suspended within 
a churning realm known as the Elemental Chaos, 

These planes are all connected, and the border regions 
between them are sometimes described as distinct 
planes in their own right. 

At their innermost edges, where they are closest 
to the Material Plane (in a conceptual if not a literal 
geographical sense), the four Elemental Planes 
resemble places in the Material Plane, The four 
elements mingle together as they do in the Material 
Plane, forming land, sea. and sky. But the dominant 
element exerts a strong influence on the environment, 
reflecting its fundamental qualities. 

The inhabitants of this inner ring include aarakocra. 
azers, dragon turtles, gargoyles, genies, mephits, 
salamanders, and xorn. Some originated on the 
Material Plane, and all can travel to the Material 
Plane (if they have access to the magic required) and 
survive there. 

As they extend farther from the Material Plane, 
the Elemental Planes become increasingly alien and 
hostile. Here, in the outermost regions, the elements 
exist in their purest form: great expanses of solid earth, 
blazing fire, crystal-clear water, and unsullied air. Any 
foreign substance is extremely rare: little air can be 
found in the outermost reaches of the Plane of Earth, 
and earth is all but impossible to find in the outermost 
reaches of the Plane of Fire. These areas are much less 
hospitable to travelers from the Material Plane than 
the border regions are. Such regions are little know n, 
so when discussing the Plane of Fire, for example, a 
speaker usually means the border region. 

The outermost regions are largely the domains of 
elemental spirits barely recognizable as creatures. 

The creatures usually called elemental® dwell here, 
including the Elemental Princes of Evil (primordial 
beings of pure elemental fury) and elemental spirits 
that spellcasters can bind into galeb duhrs, golems, 
invisible stalkers, magmin. and water weirds. These 
elemental creatures don't need food or other sustenance 
on their home planes, because they are sustained by the 
elemental energies that saturate those planes. 

El emental Ch aos _ 

At the farthest extents of the Elemental Planes, the pure 
elements dissolve and bleed together into an unending 


C H APT Eg. 2 | C R fc A‘ HNG A M U LT! V £ V. $ £ 


















^hiuft of dashing energies and colliding substance 
i ed the Elemental Chaos. Elementals can be found 
as well but they usually don't stay long, preferring 
cifort of their native planes. Reports indicate 
rB existence of weird hybrid elementals native to the 
E> 'rental Chaos, but such creatures are seldom seen 
«c ::her planes. 

Plane of Air 

^—■ i » -■ ■ ■ « ——^■—- ■ i 


-r -ential nature of air is movement, animation, and 
■ration. Air is the breath of life* the winds of change, 

— : ‘ eh breeze that clears away the fog of ignorance 
v stuffiness of old ideas. 

Th Plane of Air is an open expanse with constant 
■5 - is of varying strength. Here and there, chunks of 
■ fa drift in the openness—the remnants of failed 

by denizens of the Plane of Earth. These earth 
- serve as homes for the creatures of elemental air, 
ny motes are covered with lush vegetation. Other 
Esc-iures live on cloud banks infused with enough 
to become solid surfaces, strong enough to 
towns and castles. 

- Ping cloud banks can obscure visibility in any 
tion in the plane. Storms are frequent, mostly on 
pa - v. ith a strong thunderstorm but occasionally more 
i ■■•'a tornadoes or mighty hurricanes. The air is 
3i£ : ■ -wept near the Plane of Water (where it is biting 
cdr and die Plane of Fire (where it is searing hot). 

; d snow fall only in the part of the plane nearest 
ic the Plane of Water. 

■lost of the Plane of Air is a complex web of air 
3 ' a ms* currents, and winds called the Labyrinth 

i. These range from stiff breezes to howling gales 
\n rip a creature apart. Even the most skilled 
_ features must navigate these currents carefully, 

_ with the winds, not against them. 

Here and there among the Labyrinth Winds are 
n: den realms reachable only by following a particular 
s- nee of flowing winds, and thus largely protected 
sc nst attackers. One such realm is fabled Aaqa. a 
aiming domain of silver spires and verdant gardens 
jboc 2 fertile earth mote. The Wind Dukes of Aaqa are 
§r z ited to law and good, and they maintain a vigilant 

- 2 against the depredations of elemental evil and the 

' ichment of the Elemental Chaos. They are served 
to makocra and a lit tie-known race called the vaati. 

7 he region of the Plane of Air nearest the Great 
T;r dagration is called the Sirocco Straits. Hot. dry 
sr > scour the earth motes in this area to dry and 
jhrren chunks of rock. Gargoyles and their allies from 
Plane of Earth gather here to launch raids into the 
pm of Aaqa. 

E ---tween the Sea of Fire (on the Plane of Fire) and 
Sirocco Straits is a towering firestorm called the 
Great Conflagration, sometimes called the Plane of 
Ash. Howling winds from the Plane of Air mix with the 
drier storms and lava of the Plane of Fire to create an 
- -less storm front—a wall of flames, smoke, and ash, 

7 - - thick ash obscures sight beyond a few dozen feet, 
and the battering winds make travel difficult. Here and 
ibr re, ash clusters into floating realms where outlaws 
it : fugitives take shelter. 


















At the other end of the plane, near the Frost fell (the 
plane of ice that borders the Plane of Water), is a region 
of frigid winds called the Mistral Reach. These gales 
drive snowstorms into the Frostfell and away from in 
.toward the heart of the plane. Earth motes in the reach 
are covered with snow and ice. 

Plane of Earth_. 

Earth symbolizes stability, rigidity, stern resolve, and 
tradition. The plane s position opposite the Plane of 
Air in the ring of the Elemental Planes reflects its 
opposition to almost everything air represents. 

The Plane of Earth is a chain of mountains rising 
higher than any mountain range in the Material Plane. 

It has no sun of its own. and no air surrounds the peaks 
of its highest mountains. Most visitors to the plane 
arrive by way of caves and caverns that honeycomb the 
mountains. 

The largest cavern beneath the mountains, called 
the Great Dismal Delve or the Sevenfold Maze work, is 
home to the capital city of the dao, the City of jewels. 
The dao take great pride in their wealth and send teams 
of slaves across the plane in search of new veins of 
ore and gemstones to exploit. Thanks to their efforts, 
every building and significant object in the city is made 
from precious stones and metals, including the slender 
gemstone-inlaid spires that top most buildings. The city 
is protected by a powerful spell that alerts the entire dao 
population if a visitor steals even a single stone. Theft is 
punishable by death, with punishment extending to the 
thief's relatives. 

The mountains nearest the Fountains of Creation (on 
the Plane of Fire) are called the Furnaces. Lava seeps 
through their caverns, and the air reeks of sulfur. The 
dao have great forges and smelting furnaces here to 
process their ores and shape their precious metals. 

The border region between the planes of Water and 
Earth is a horrid swamp where twisted, gnarled trees 
and thick, stinging vines grow from the dense muck and 
slime. Here and there within the Swamp of Oblivion 
(also called the Plane of Ooze), stagnant lakes and pools 
play host to thickets of weeds and monstrous swarms of 
mosquitoes. The few settlements here consist of wooden 
structures suspended above the muck. Most are built on 
platforms between trees, but a few stand on stilts driven 
deep into the muck. No solid earth underlies the mud 
of the swamp, so houses built on poles eventually sink 
down into it. 

It is said that any object cast into the Swamp of 
Oblivion can t be found again for at least a century. Now 
and then, a desperate soul casts an artifact of power into 
this place, removing it from the multi verse for a time. 
The promise of powerful magic lures adventurers to 
brave the monstrous insects and hags of the swamp in 
search of these treasures. 

The region of the plane nearest the Swamp of 
Oblivion is called the Mud Hills. Landslides constantly 
wear away the slopes of the hills, sending cascades 
of earth and stone into the bottomless swamp. The 
Plane of Earth seems to constantly regenerate the land, 
pushing new hills up as the old ones erode to nothing. 

















Plane of Fire 


Fire represents vibrancy, passion, and change. At 
its worst, it is cruel and wantonly destructive, as the 
:reet often are, but at its best, tire reflects the light of 
spiration, the warmth of compassion, and the flame 
of desire. 

A blazing sun bangs at the zenith of a golden sky 
above the Plane of Fire, waxing and waning on a 
-4-hour cycle. It ranges from white hot at noon to deep 
red at midnight, so the darkest hours of the plane 
-play a deep red twilight. At noon, the light is nearly 
boding. Most business in the City of Brass (see below) 
Acs place during the darker hours. 

The weather on the plane is marked by fierce winds 
and thick ash. Although the air is breathable, creatures 
i native to the plane must cover their mouths and 
e\es to avoid stinging cinders. The efreet use magic to 
%eep the cinder storms away from the City of Brass. 

i elsewhere in the plane, the wind is always at least 
1: jstery and rises to hurricane force during the 
orst storms. 

The heat in the Plane of Fire is comparable to 
t hot desert on the Material Plane, and poses a 
similar threat to travelers (see ' Extreme Heat" in 
• bapter 5, “Adventure Environments' 1 ). The deeper 
nc- goes into the plane, the rarer water becomes. 
Beyond a point, the plane holds no sources of water, 

- travelers must carry their own supplies or produce 
water by magic. 

The Plane of Fire is dominated by the vast Cinder 
Wastes, a great expanse of black cinders and embers 
< -ossed by rivers of lava. Roving bands of salamanders 
r.tle each other, raid azer outposts, and avoid the 
e:ree!. Ancient ruins dot the desert—remnants of 
rgotten civilizations, 

A great range of volcanic mountains called the 
Fountains of Creation is home to azers. These rocky 
: eaks curl from the edge of the Plane of Earth around 
:he Cinder Wastes toward the fiery heart of the plane. 
At the edge of the plane, the mountains are also called 
e Plane of Magma. Fire giants and red dragons 
: ake their homes here, as well as creatures from the 
neighboring planes. 

Lava flows through the volcanoes toward the Plane 
Air and pools into a great lava sea, called the Sea 
of Fire, sailed by efreet and azers in great brass ships. 
LA tnds of obsidian and basalt jut up from the sea. 

: .tied with ancient ruins and the lairs of powerful 

- d dragons. On the shore of the Sea of Fire stands 
the City of Brass. 

The City of Brass 

Perhaps the best-known location in the Inner Planes is 
the City of Brass, on the shores of the Sea of Fire. This 
:s the fabled city of the efreet. and its ornate spires and 
ml walls reflect their grandiose and cruel nature. 
True to the nature of the Plane of Fire, everything in 
the city seems alive with dancing flames, reflecting the 
. ibrant energy of the place. 

Adventurers frequently come here on quests for 
ndary magic. If it’s possible to buy magic items at 
a the City of Brass is the most likely place to find any 



















*{**,*- 


item for sale, though the price might well be more than 
gold. The efreet are fond of trading in favors, especially 
when they have the upper hand in negotiations. Perhaps 
a magical disease or poison can be cured only with 
something that must be purchased in the bazaars 
of the city. 

The heart of the city is the towering Charcoal 
Palace, where the tyrannical sultan of the efreet reigns 
supreme, surrounded by efreet nobles and a host of 
slaves, guardians, and sycophants. 

Plane of Water 


The nature of water is to How. not like the gusting wind 
or the leaping dame, but smoothly and steadily* It is the 
rhythm of the tide, the nectar of life, the bitter tears of 
mourning, and the balm of sympathy and healing* Given 
time, it can erode all in its path, 

A warm sun arcs across the sky of the Plane of 
Water, seeming to rise and set from within the water 
at the visible edge of the horizon. Several times a day* 
however, the sky clouds over and releases a deluge 
of rain, often accompanied by spectacular shows of 
lightning, before clearing up again. At night* a glittering 
array of stars and auroras bedecks the sky* 

The Plane of Water is an endless sea, called the Sea 
of Worlds, dotted here and there with atolls and islands 
that rise up from enormous coral reefs that seem to 
stretch forever into the depths* The storms that move 
across the sea sometimes create temporary portals 
to the Material Plane and draw ships into the Plane 
of Water. Surviving vessels from countless worlds 
and navies ply these waters with little hope of ever 
returning home* 

The weather on the plane is a lesson in extremes* 
if the sea isn't calm, it is battered bv storms. On rare 
occasions, a tremor in the planar firmament sends a 
rogue wave sweeping across the plane* swamping entire 
islands and driving ships down to the reefs. 

Life flourishes in the upper reaches of the Sea of 
Worlds* called the Sea of Light because of the sunlight 
filtering down into the water. Aquatic humanoids craft 
castles and fortresses in the coral reefs. The marids 
are the distant stewards of this region, content to allow 
the lesser folk to compete for territory* The nominal 
emperor of the marids dwells in the Citadel of Ten 
Thousand Pearls, an opulent palace made of coral and 
studded with pearls* 

The deeper extents of the plane, where no sunlight 
reaches* are called the Darkened Depths, Horrid 
creatures dwell here, and the absolute cold and crushing 
pressure mean a swift end to creatures accustomed 
to the surface or the Sea of Light Krakens and other 
mighty leviathans claim this realm. 

Any land that rises above the surface of the sea is 
hotly contested by the few air-breathers that live on the 
plane. Fleets of rafts and ships lashed together serve 
as solid ground where nothing else is available. Most 
natives of the plane never break the surface of the sea 
and thus ignore these habitations. 

One of the few actual islands on the plane is the Isle 
of Dread. The island is connected to the Material Plane 
by means of a regular storm that sweeps over the island* 




































isle of Dread 


; Sea of 
Worlds 


Mistral 

Reach 


Labyrinthine#©Mj 

Winds 

Zi Sirocco 

Straits/# 

r r/t 


City of 
Jewels 


P The Xyw 
Furnaces W 

Vx/k 


City of 
iBrass 


Cinder 

Wastes 


Fountain 


The 

LEMENTAL 

Planes 


Travelers who know the strange tides and currents 
■ the plane can travel between worlds freely, but the 
storms also wreck ships from the Material Plane on the 
-land's shore. 

The region of the Plane of Water nearest the Swamp 
Oblivion (on the Plane of Earth) is called the Silt 
Flats. The water is thick with soil and sludge, and turns 
into muddy ground before giving way to the great swamp 
between the planes* 

At the other extreme of the plane is the Sea of Ice, 
ordering the Frost fell The frigid water is choked with 
bergs and sheet ice. inhabited by the cold-loving 
reatures that inhabit the Frostfell. Drifting icebergs 
an carry these creatures farther into the Plane of 
Water to threaten ships and islands in warmer seas. 

The Frostfell. also called the Plane of Ice, forms the 
border between the planes of Air and Water and is a 
' emingly endless glacier sw^ept by constant, raging 
jzzards. Frozen caverns twist through the Plane of 
e, home to yetis, remorhazes, white dragons, and other 
creatures of cold. The inhabitants of the plane engage in 
~ never-ending battle to prove their strength and ensure 
:heir survival. 

Its dangerous monsters and bitter cold make the 
Frostfell a dangerous place to travel. Most planar 
voyagers keep to the air, braving the powerful winds and 
ifiving snow to avoid setting foot on the great glacier. 


Outer Planes 

Streamers of noxious gas streaked that crimson dome like 
dirty clouds. They whirled to form what looked like giant 
eyes staring down, eyes that were swept aioqy before they 
could focus, only to form anew, again and again. Beneath 
the ruby glow lay a dark nightmare land of bare rock and 
flumes of sparks and goutingflame, where things slithered 
and scrambled half-seen in the shadows. Mountains clawed 
the ruby sky. The Land of Teeth, Azuth had once aptly 
called it surveying the endless jagged rocks. This was the 
Greeting Ground, the realm of horror that had claimed 
the lives of countless mortals. He was whirling along above 
Avernus , uppermost of the Nine Hells . 

—Ed Greenwood, Efminster in Hell 

If the Inner Planes are the raw matter and energy that 
makes up the multiverse, the Outer Planes provide the 
direction, thought, and purpose for its construction. 
Accordingly, many sages refer to the Outer Planes as 
divine planes, spiritual planes, or godly planes, for the 
Outer Planes are best know n as the homes of deities. 

When discussing anything to do with deities, the 
language used must be highly metaphorical. Their 


HAFTER 2 










actual homes aren’t literally places at all but exemplify 
the idea that the Outer Planes are realms of thought and 
spirit. As with the Elemental Planes, one can imagine 
the perceptible part of the Outer Planes as a border 
region, while extensive spiritual regions lie beyond 
ordinary sensory experience. 

Even in perceptible regions, appearances can be 
deceptive. Initially, many of the Outer Planes appear 
hospitable and familiar to natives of the Material Plane. 
But the landscape can change at a whim of the powerful 
forces that dwell on these planes, which can remake 
them completely, effectively erasing and rebuilding 
existence to better fulfill their divine needs. 

Distance is a virtually meaningless concept on the 
Outer Planes. The perceptible regions of the planes can 
seem quite small, but they can also stretch on to what 
seems like infinity. Adventurers could take a guided 
tour of the Nine Hells, from the first layer to the ninth, 
in a single day—if the powers of the Hells desire it. Or if 
could take weeks for travelers to make a grueling trek 
across a single layer. 

The default Outer Planes are a group of sixteen planes 
that correspond to the eight alignments (excluding 
neutrality, which is represented by the Outlands, 
described in the section on 'Other Planes' ) and the 
shades of distinction between them. 

The Outer Planes 


Outer Plane 

Alignment 

Mount Celestia, the Seven Heavens of 

LG 

Bytopia, the Twin Paradises of 

MG, LG 

Elysium, the Blessed Fields of 

MG 

The Beastlands, the Wilderness of 

MG, CG 

Arborea, the Olympian Glades of 

CG 

Ysgard, the Heroic Domains of 

CM, CG 

Limbo, the Ever-Changing Chaos of 

CN 

Pandemonium, the Windswept Depths of 

CN, CE 

The Abyss, the Infinite Layers of 

CE 

Carceri, the Tarterian Depths of 

ME, CE 

Hades, the Gray Waste of 

ME 

Gehenna, the Bleak Eternity of 

ME, LE 

The Nine Hells of Baator 

LE 

Acheron, the Infinite Battlefield of 

IN, LE 

Mechanus. the Clockwork Nirvana of 

LM 

Arcadia, the Peaceable Kingdoms of 

LM. LG 


The planes with an element of good in their nature are 
called the Upper Planes, while those with an dement 
of evil are the Lower Planes. A plane s alignment is 
its essence, and a character whose alignment doesn't 
match the plane's alignment experiences a sense of 
dissonance there. When a good creature visits Elysium, 
for example, it feels in tune with the plane, but an 
evil creature feels out of tune and more than a little 
uncomfortable. 

The Upper Planes are the home of celestial creatures, 
including angels, couatls, and pegasi. The Lower Planes 
are the home of fiends: demons, devils, yugoloths, 
and their ilk. The planes in between host their own 
unique denizens: the construct race of modrons 


inhabit Me chan us, and the aberrations called slaadi 
thrive in Limbo, 

i 

Layers of the Outer Planes 

Most of the Outer Planes include a number of distinct 
environments or realms. These realms are often 
imagined and depicted as a stack of related parts of the 
same plane, so travelers refer to them as layers. For 
example. Mount Celestia resembles a seven-tiered layer 
cake, the Nine Hells has nine layers, and the Abyss has 
a seemingly endless number of layers. 

Most portals from elsew here reach the fi rst layer of a 
multilayered plane. This layer is variously depicted as 
the top or bottom layer, depending on the plane. As the 
arrival point for most visitors, the first layer functions 
like a city gate for that plane. 

Travelin g the O ut er Planes 

Traveling between the Outer Planes isn't dissimilar 
from reaching the Outer Planes in the first place. 
Characters traveling by means of the astral projection 
spell can go from one plane into the Astral Plane, and 
there search out a color pool leading to the desired 
destination. Characters can also use plane shift to reach 
a different plane more directly. Most often, though, 
characters use portals—either a portal that links the tw 
planes directly or a portal leading to Sigil, City of Door> 
which holds portals to all the planes. 

Two planar features connect multiple Outer Planes 
together: the River Styx and the Infinite Staircase. 

Other planar crossings might exist in your campaign, 
such as a World Tree whose roots touch the Lower 
Planes and whose branches reach to the Upper Planes, 
or it might be possible to walk from one plane to a not lie r 
in your cosmology. 

The River Styx 

This river bubbles with grease, foul flotsam, and 
the putrid remains of battles along its banks. Any 
creature other than a fiend that tastes or touches the 
water is affected by a feeble mind spell. The DC of the 
Intelligence saving throw to resist the effect is 15, 

The Styx churns through the top layers of Acheron, 
the Nine Hells, Gehenna, Hades. Carceri. the Abyss, and 
Pandemonium. Tributaries of the Styx snake onto lower 
layers of these planes. For example, a tendril of the Styx 
winds through every layer of the Nine Hells, allowing 
passage from one layer of that plane to the next. 

Sinister ferries float on the waters of the Styx, crewed 
by pilots skilled in negotiating the unpredictable 
currents and eddies of the river. For a price, these pilots 
are willing to carry passengers from plane to plane. 
Some of them are fiends, while others are the souls of 
dead creatures from the Material Plane, 

The Infinite Staircase 
The Infinite Staircase is an extradimensional spiral 
staircase that connects the planes. An entrance to the 
Infinite Staircase usually appears as a nondescript 
door. Beyond the portal lies a small landing with an 
equally nondescript stairway leading up and down. The 
Infinite Staircase changes appearance as it climbs and 


C HAFTER 2 ! GR H A"UNC \ M U LTIVE RS K 




















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- g< 'ing from simple stairs of wood or stone to a 


jmble of stairs hanging in radiant space* where 
steps share the same gravitational orientation* 
i i that one can find one’s heart's desire on 

_-Staircase through diligent searching of 

landing. 

Deers the Infinite Staircase are often tucked 
- -rsty, half-forgotten places that no one 
~ ?t pays any attention to. On any given plane, 

. ;-r be multiple doors to the Infinite Staircase* 
it entrances aren’t common knowledge and are 
ci - rally guarded by devas, sphinxes, yugoloths, and 
werful monsters. 

tional Rules 


the Outer Planes has peculiar characteristics 
r _ke traveling through it a unique experience. A 
e 5 influence can affect visitors in various ways, such 
_ them to take on personality traits or flaws 
reject the disposition of the plane, or even shift 
n: to more closely match the native inhabitants 
: lane. Each plane's description includes one or 
m n lional rules that you can use to help make the 
j^e-surers’ experiences on that plane memorable. 

:nal Rule: Psychic Dissonance 

pi H c-f the Outer Planes emanates a psychic 
haso -nee that affects visitors of an incompatible 
p^rtm-good creatures on the Lower Planes, evil 
-- :he Upper Planes—if they spend too much 
the plane. You can reflect this dissonance with 
: . nal rule. At the end of a long rest spent on 

isci mpatible plane, a visitor must make a DC 10 
imiion saving throw* On a failed save, the creature 
ne level of exhaustion. Incompatibility between 
: and chaotic alignments doesn't have the same 
s Mechanus and I umbo lack this quality. 


Mount Celestia 

The single sacred mountain of Mount Celestia rises 
from a shining Silver Sea to heights barely visible and 
utterly incomprehensible, with seven plateaus marking 
its seven heavenly layers* The plane is the model of 
justice and order, of celestial grace and endless mercy, 
where angels and champions of good guard against 
incursions of evil* It is one of the few places on the 
planes where travelers can let down their guard. Its 
inhabitants strive constantly to be as righteous as 
possible. Countless creatures aim to reach the highest 
and most sublime peak of the mountain* but only the 
purest souls can. Gazing toward that peak fills even the 
most jaded of travelers with awe. 

Optional Rule; Blessed Beneficence 

In contrast to the dissonance experienced by evil 
creatures here, good creatures are literally blessed by 
the pervasive beneficence of the plane. Creatures of 
good alignment gain the benefit of the bless spell as long 
as they remain on the plane. In addition, finishing a long 
rest on the plane grants a good creature the benefit of a 
less er res fora f ion sp el l * 

Bytopia 


The two layers of the Twin Paradises of Bytopia are 
similar yet opposite: one is a tamed, pastoral landscape 
and the other an untamed wilderness, yet both reflect 
the plane's goodness and its acceptance of law and 
order when necessary* Bytopia is the heaven of 
productive work, the satisfaction of a job well done* The 
goodness flowing through the plane creates feelings of 
goodwill and happiness in creatures dwelling there. 

Optional Rule: Pervasive Goodwill 
At the end of each long rest taken on this plane, a 
visitor that is neither lawful good nor neutral good 


CHAPTER 2 | CREATING A M Ul.TjVERSE 


59 




































must make a DC 10 Wisdom saving throw. On a failed 
save, the creature's alignment changes to lawful good 
or neutral good (whichever is closer to the creature's 
current alignment). The change becomes permanent 
if the creature doesn't leave the plane within ld4 days. 
Otherwise, the creature s alignment reverts to normal 
after one day spent on a plane other than Bytopia. 
Casting the dispel evil and good spell on the creature 
also restores its original alignment. 


and wildflowers wave in the wind with vibrant life. The 
plane embodies nature's wildness and beauty, but it alse 
speaks to the animal within all living tilings. 


Optional Rule: Hunter's Paradise 

Visitors to the Beastlands find their hunting and 
stalking capabilities improved, and characters have 
advantage on Wisdom (Animal Handling), Wisdom 
(Perception), and Wisdom (Survival) checks while there 


Elysium 

Elysium is home to creatures of unfettered kindness and 
compassion, and a welcome refuge for planar travelers 
seeking a safe haven. The planes bucolic landscapes 
glimmer with life and beauty in their prime. Tranquility 
seeps into the bones and souls of those who enter the 
plane. It is the heaven of well-earned rest, a place where 
tears of joy glisten on many a cheek. 

Optional Rule: Overwhelming Joy 

Visitors spending any time on this plane risk becoming 
trapped by overwhelming sensations of contentment 
and happiness. At the end of each long rest taken on 
this plane, a visitor must make a DC 10 Wisdom saving 
throw. On a failed save, the creature is unwilling to leave 
the plane before taking another long rest. After three 
failed saving throws, the creature never willingly leaves 
the plane and, if forcibly removed, does everything in its 
power to return to the plane. A dispel evil and good spell 
removes this effect from the creature. 

The Beastlands _ 

The Beastlands is a plane of nature unbound, of forests 
ranging from moss-hung mangroves to snow-laden 
pines, of thick jungles where the branches are woven so 
tight that no light penetrates, of vast plains where grains 


Optional Rule: Beast Transformation 
Whenever a visitor slays a beast native to the plane, the 
slayer must succeed on a DC 10 Charisma saving throw 
or become transformed (as the polymorph spell) into the 
type of beast that was slain. In this form, the creature 
retains its intelligence and ability to speak. At the end of 
each long rest, the polynaorphed creature can repeal tht 
saving throw. On a successful saving throw, the creature 
returns to its true form. After three failed saving throws, 
the transformation can be undone only by a remove 
curse spell or similar magic. 

Arb orea _ 

Larger than life, Arborea is a place of violent moods 
and deep affections, of whim backed by steel, and of 
passions that blaze brightly until they burn out. Its 
good-natured inhabitants are dedicated to fighting evil, 
but their reckless emotions sometimes break free with 
devastating consequences. Rage is as common and as 
honored as joy in Arborea, There the mountains and 
forests are extravagantly massive and beautiful, and 
every glade and stream is inhabited by nature spirits 
that brook no infringement. Travelers must tread lightly. 

Arborea is home to many elves and elven deities, Elve^ 
born on this plane have the celestial type and are wild at 
heart, ready to battle evil in a heartbeat. Otherwise, they 
look and behave like normal elves. 


jSo 


CHAFTE\R 2 ! CKfci A l ING A M V LTfVTRSE 



















. ptional Rule: Intense Yearning 

Keep track of how many days a visitor spends on 
Arborea. When the visitor leaves, it must make a 
Charisma saving throw against a DC of 5, plus 1 for 
a :h day spent on the plane. On a failed save, the 
reature becomes afflicted with a yearning to return to 
- - area. As long as the effect persists, the creature has 
advantage on ability checks. At the end of each long 
- t sthe creature can repeat the saving throw, ending 
effect on a success. A dispel evil and good spell 
removes this effect from the creature. 

Ysgard 


\ -;;ird is a rugged realm of soaring mountains, deep 
if ■ is. and windswept battlefields, with summers that 
a' song and hot, and winters that are wickedly cold 
■ unforgiving. Its continents float above oceans of 
; ante rock, below which are icy caverns so enormous 
hold entire kingdoms of giants, humans, dwarves, 
mes, and other beings. Heroes come to Ysgard to 
a their mettle not only against the plane itself, but also 
■gainst giants, dragons, and other terrible creatures that 
:r y jer across Ysgard s vast terrain. 

Optional Rule: Immortal Wrath 
? _ ird is the home of slain heroes w r ho wage eternal 
on fields of glory. Any creature, other than a 
struct or undead, that is killed by an attack or a 
while on Ysgard is restored to life at dawn the next 
ffey The creature lias all its hit points restored, and all 
:: iitions and afflictions it suffered before its death 
are removed, 

Limbo 


L ~bo is a plane of pure chaos, a roiling soup of 
— rrrmanent matter and energy. Stone melts into 
paler that freezes into metal, then turns into diamond 


that burns up into smoke that becomes snow, and 
on and on in an endless, unpredictable process of 
change. Fragments of more ordinary landscapes - bits 
of forest, meadow, ruined castles, and even burbling 
streams—drift through the disorder. The whole plane is 
a nightmarish riot. 

Limbo has no gravity, so creatures visiting the plane 
float in place. A creature can move up to its walking 
speed in any direction by merely thinking of the desired 
direction of travel. 

Limbo conforms to the will of the creatures inhabiting 
it. Very disciplined and powerful minds can create 
whole islands of their own invention within the plane, 
sometimes maintaining those places for years. A 
simpleminded creature such as a fish, though, might 
have less than a minute before the pocket of water 
surrounding it freezes, vanishes, or turns to glass. 

The slaadi live here and swim amid this chaos, 
creating nothing, whereas githzerai monks build entire 
monasteries with their minds. 


Optional Rule: Power of the Mind 

As an action, a creature on Limbo can make an 
Intelligence check to mentally move an object on 
the plane that it can see within 30 feet of it. The DC 
depends on the object’s size: DC 5 for Tiny, DC 10 for 
Small, DC 15 for Medium. DC 20 for Large, and DC 25 
for Huge or larger. On a successful check, the creature 
moves the object 5 feet plus 1 foot for every point by 
which It beat the DC, 

A creature can also use an action to make an 
Intelligence check to alter a nonmagical object that isn't 
being worn or carried. The same rules for distance 
apply, and the DC is based on the object’s size: DC 
10 for Tiny, DC 15 for Small, DC 20 for Medium, and 
DC 25 for Large or larger On a success, the creature 
changes the object into another nonliving form of the 
same size, such as turning a boulder into a ball of fire. 














Finally, a creature can use an action to make an 
Intelligence check to stabilize a spherical area centered 
on the creature- The DC depends on the radius of the 
sphere. The base DC is 5 fora lOdbot-radius sphere; 
each additional 10 feet added to the radius increases the 
DC by 5, On a successful check, the creature prevents 
the area from being altered by the plane for 24 hours, or 
until the creature uses this ability again. 

Pandemonium 

Pandemonium is a plane of madness, a great mass of 
rock riddled with tunnels carved by howling winds. It is 
cold, noisy, and dark, with no natural light. Wind quickly 
extinguishes non magical open flames such as torches 
and campfires. It also makes conversation possible only 
hv yelling, and even then only to a maximum distance 
of 10 feet. Creatures have disadvantage on any ability 
check that relies on hearing. 

Most of the plane’s inhabitants are creatures that were 
banished to the plane with no hope of escape, and many 
of them have been driven mad by the incessant winds 
or forced to take shelter in places where the winds die 
down until they sound like distant cries of torment. 

Optional Rule: Mad Winds 
A visitor must make a DC 10 Wisdom saving throw 
after each hour spent among the howling winds. On a 
failed save, the creature gains one level of exhaustion. 

A creature that reaches six levels of exhaustion while 
on this plane doesn't die. Instead, the creature gains 
a random form of indefinite madness, as described in 
chapter 8, “Running the Game/' Finishing a long rest 
doesn’t reduce a creature s exhaustion level unless the 
creature can somehow escape the maddening winds. 

The Abyss _ 

The Abyss embodies all that is perverse, gruesome, and 
chaotic. Its virtually endless layers spiral downward into 
ever more appalling forms. 

Each layer of the Abyss boasts its own horrific 
environment. Although no two layers are alike, they are 
all harsh and inhospitable. Each layer also reflects the 
entropic nature of the Abyss. In fact, much of what one 
sees or touches on the plane seems to be in a decaying, 
crumbling, or corroded state. 

Optional Rule: Abyssal Corruption 

A non-evil visitor that finishes a long rest in the Abyss 
must make a DC 10 Charisma saving throw. On a 
failure, the creature becomes corrupted. Refer to the 
Abyssal Corruption table to determine the effects of 
this corruption. You can substitute different corruption 
effects of your own creation. 

After finishing a long rest, a corrupted creature can 
make a DC 15 Charisma saving throw. On a successful 
save, the corruption effect ends. A dispel evil and good 
spell or any magic that removes a curse also ends 
the effect. 

If a corrupted creature doesn’t leave the plane within 
ld4 + 2 days, its alignment changes to chaotic evil. 
Casting the dispel evil and good spell on the creature 
restores its original alignment. 


Abyssal Corruption 

cflO Result 

1-4 Treachery. The character gains the following flaw: 

,J 1 can only achieve my goals by making sure that 
my companions don't achieve theirs." 

5-7 Bloodlust. The character gains the following flaw: 
f< l enjoy killing for its own sake, and once 1 start, 
it’s hard to stop." 

8-9 Mad Ambition, The character gains the following 
flaw: "I am destined to rule the Abyss, and my 
companions are tools to that end/' 

10 Demonic Possession, The character is possessed 
by a demonic entity until freed by dispel evil and 
good or similar magic. Whenever the possessed 
character rolls a 1 on an attack roll, ability check, 
or saving throw, the demon takes control of the 
character and determines the character’s behavior. 
At the end of each of the possessed character's 
turns, he or she can make a DC 15 Charisma saving 
throw. On a success, the character regains control 
until he or she rolls another 1, 

Important Layers 

The layers of the Abyss are defi ned by the demon lords 
who rule them, as the following examples illustrate. 
More information about the demon lords can be found in 
the Mons ter Ma n ua 1. 

The Gaping Maw . Demogorgon s layer in the Abyss 
is a vast wilderness of savagery and madness know n 
as the Gaping Maw, where even powerful demons 
go insane with fear. Reflecting Demogorgon’s dual 
nature, the Gaping Maw consists of a massive primeval 
continent covered in dense jungle, surrounded by a 
seemingly endless expanse of ocean and brine fiats. The 
Prince of Demons rules bis layer from two serpentine 
towers, which emerge from a turbid sea. Each tower 
is topped with an enormous fanged skull. The spires 
constitute the fortress of Abysm, where few creatures 
can venture without descending into madness. 

Thanatos . If Ore us had his way, all planes would 
resemble his dead realm of Thanatos, and all creatures 
would become undead under his control. Under its 
black sky, Thanatos is a land of bleak mountains, barren 
moors, ruined cities, and forests of twisted black trees. 
Tombs, mausoleums, gravestones, and sarcophagi 
litter the landscape. Undead swarm across the plane, 
bursting from their tombs and graves to tear apart any 
creatures foolish enough to journey here, Orcus rules 
Thanatos from a vast palace known as Everlost. crafted 
of obsidian and bone. Set within a howling wasteland 
called Oblivions End, the palace is surrounded by tombs 
and burial sites dug into the sheer slopes of narrow 
valleys, creating a tiered necropolis. 

The Demonweh . Lolth’s layer is an immense network 
of thick, magical webbing that forms passageways and 
cocoon-like chambers. Throughout the web, buildings, 
structures, ships, and other objects hang as if caught 
in a spider s snare. The nature of Lolth’s web creates 
random portals throughout the plane, drawing such 
objects in from demiplanes and Material Plane worlds 



C 1l A FT ER 2 | CR £ AT I \ G A M U LTIV ERSE 









that figure into the schemes of the Spider Queen, 

Lolth’s servants also build dungeons amid the webbing, 
Trapping and hunting Lolth’s hated enemies within 
crisscrossing corridors of web-mortared stone. 

Far beneath these dungeons lie the bottomless 
Demonweb Pits where the Spider Queen dwells. There, 
Lolth is surrounded by her handmaidens yochlol 
demons created to serve her and which outrank 
mightier demons while in the Spider Queen's realm. 

The Endless Maze* Bap hornet's layer of the Abyss is 
a never-ending dungeon, the center of which holds the 
Horned King's enormous ziggurat palace. A confusing 
jumble of crooked hallways and myriad chambers, the 
palace is surrounded by a mile-wide moat concealing 
a maddening series of submerged stairs and tunnels 
leading deeper into the fortress. 

The Triple Realm* The Dark Prince Graz’zt rules 
over the realm of Azzagrat, which encompasses three 
layers of the Abyss. His seat of power is the fantastic 
Argent Palace in the city of Zelatar, whose bustling 
markets and pleasure palaces draw visitors from across 
the multiverse in search of obscure magical lore and 
t erverse delights. By Graz’zt s command, the demons 
Azzagrat present a veneer of civility and courtly 
mity, However, the so-called Triple Realm holds as 
much danger as any other part of the Abyss, and planar 
* i-iiors can vanish without a trace in its mazelike cities 
1 in forests whose trees have serpents for branches. 
Death Dells* Yeenoghu rules a layer of ravines known 
s Death Dells. Here, creatures must hunt to survive. 
Even the plants, which must bathe their roots in blood, 

- are the unwary. Yeenoghu s servants, helping to sate 
ir master s hunger as he prowls his kingdom seeking 
prey, capture creatures from the Material Plane for 
release in the Gnoll Lord’s realm. 

Carceri 

The model for all other prisons in existence, Carceri 
s a plane of desolation and despair. Its six layers hold 
as i bogs, fetid jungles, windswept deserts, jagged 
mtains, frigid oceans, and black ice. All form a 
serable home for the traitors and backstabbers that 
re trapped on this prison plane, 

Optional Rule: Prison Plane 

No ne can leave Carceri easily. Magical efforts to leave 
H e plane by any spell other than a wish simply fail, 
r: rials and gates that open onto the plane become one- 
« ay only. Secret ways out of the plane exist, but they are 
: ien and well guarded by traps and deadly monsters. 

Hades _ _ 

The layers of Hades are called the Three Glooms— 

: aces without joy, hope, or passion. A gray land with 
n ashen sky, Hades is the destination of many souls 
r" si arc unclaimed by the gods of the Upper Planes or 
m fiendish rulers of the Lower Planes. These souls 
tecome larvae and spend eternity in this place that 
. ks a sun. a moon, stars, or seasons. Leaching away 
p: lor and emotion, this gloom is more than most visitors 
| =n stand. The "Shadowfell Despair" rule earlier in the 
hap ter can be used to represent a visitor's despair. 


Optional Rule: Vile Transformation 

At the end of each long rest taken on the plane, a visitor 
must make a DC 10 Wisdom saving throw. On a failed 
save, the creature gains one level of exhaustion, which 
can t be removed while the creature remains in Hades. 

If the creature reaches six levels of exhaustion* it doesn't 
die. Instead, the creature permanently transforms into 
a larva, whereupon all levels of exhaustion afflicting the 
creature are removed. 

A larva is a miserable fiend that retains the facial 
features of its previous form but has the body of a fat 
worm. A larva has only a few faint memories of its 
previous life and the statistics in the larva stat block. 

Hades is crawling with larvae. Night hags, liches, and 
rakshasas harvest them for use in vile rituals. Other 
fiends like to feed on them. 


Larva 

Medium fiend r neutral evil 


Armor Class 9 

Hit Points 9 (2dS) 

Speed 20 ft. 


STR DEX CON INT WIS 

CHA 

9 (-1) 9 (-1) 10 (+0) 6 (-2) 10 (+0) 

2<-4) 

Senses passive Perception 10 

Languages understands the languages it knew in life but 
can't speak 

1 Challenge 0 (ID XP) 

Actions | 

B/te, Melee Weapon Attack: +1 to hit, reach 5 ft., one 
Hit; 1 (ld4 - 1) piercing damage. 

target. 

Gehenna 



Gehenna is the plane of suspicion and greed. It is the 
birthplace of the yugoloths, which dwell here in great 
numbers. A volcanic mountain dominates each of the 
four layers of Gehenna, and lesser volcanic earthbergs 
drift in the air and smash into the greater mountains. 

The rocky slopes of the plane make movement here 
difficult and dangerous. The ground inclines at least 
45 degrees almost everywhere. In places, steep cliffs 
and deep canyons present more challenging obstacles. 
Hazards include volcanic fissures that vent noxious 
fumes or searing flames. 

Gehenna has no room for mercy or compassion. The 
fiends living here are among the greediest and most 
selfish in all the multiverse. 

Optional Rule: Cruel Hindrance 

The plane’s cruel nature makes it difficult for visitors to 
help one another. Whenever a visitor casts a spell with a 
beneficial effect, including a spell that restores hit points 
or removes a condition, the caster must first make a DC 
10 Charisma saving throw. On a failed save, the spell 
fails, the spell slot is expended, and the action is wasted. 


CHAPTER 2 I CREATING A MULTIVERSE 

b3 












































The Nin e Hells _ 

The Nine Hells of Baator inflame the imaginations of 
travelers, the greed of treasure seekers, and the battle 
fury of all moral creatures. It is the ultimate plane of 
law and evil and the epitome of premeditated cruelty. 
The devils of the Nine Hells are bound to obey the laws 
of their superiors, but they rebel within their individual 
castes. Most undertake any plot, no matter how foul, 
to advance themselves. At the very top of the hierarchy 
is Asmodeus, who has yet to be bested. If he were to 
be vanquished, the victor would rule the plane in turn. 
Such is the law of the Nine Hells, 

Optional Rule: Pervasive Evil 
Evil pervades the Nine Hells, and visitors to this plane 
feel its influence. At the end of each long rest taken on 
this plane, a visitor that isn't evil must make a DC 10 
Wisdom saving throw. On a failed save, the creature's 
alignment changes to lawful evil. The change becomes 
permanent if the creature doesn't leave the plane within 
ld4 days. Otherwise, the creature s alignment reverts 
to normal after one day spent on a plane other than the 
Nine Hells, Casting the dispel evil and good spell on the 
creature also restores its original alignment. 

The Nine Layers 

The Nine Hells has nine layers. The First eight are 
each ruled by archdevils that answer to Asmodeus, 
the Archduke of Nessus, the ninth layer. To reach the 
deepest layer of the Nine Hells, one must descend 
through all eight of the layers above it. in order. The 
most expeditious means of doing so is the River Styx, 
which plunges ever deeper as it flows from one layer 
to the next. Only the most courageous adventurers can 
withstand the torment and horror of that journey. 

Avernus* No planar portals connect directly to the 
lower layers of the Nine Hells, by Asmodeuss orders. 

As such, the first layer of Avernus is the arrival point 
for visitors to the plane. Avernus is a rocky wasteland 
with rivers of blood and clouds of biting flies. Fiery 
comets occasionally fall from the darkened sky and 
leave funning impact craters behind. Empty battlefields 
are littered with weapons and bones, showing where the 
legions of the Nine Hells met enemies on their native 
soil and prevailed. 

The archduchess Zariel rules Avernus, supplanting 
her rival, Bel. who has fallen out of Asmodeuss favor 
and is forced to serve as ZarieFs advisor. Tiamat, the 
Queen of Evil Dragons, is a prisoner on this layer, 
ruling her own domain but confined to the Nine Hells 
by Asmodeus In accordance with some ancient contract 
(the terms of which are known only to Tiamat and the 
Lords of the Nine). 

ZarieFs seat of power is a soaring basalt citadel 
festooned with the partially incinerated corpses of 
guests who failed to earn the archduchess's favor. Zariel 
appears as an angel whose once-beautiful skin and 
wings have been ruined by Are, Her eyes burn with a 
furious white light that can cause creatures looking 
upon her to burst into flame. 

D/s. Dis t the second layer of the Nine Hells, is a 
labyrinth of canyons wedged between sheer mountains 

CBAPTER 2 I CREATING A MULi [VERSE 


rich with iron ore. Iron roads span and wend through 
the canyons, watched over by the garrisons of iron 
fortresses perched atop jagged pinnacles. 

The second layer takes its name from its current lord. 
Dispater. A manipulator and deceiver, the archduke is 
devilishly handsome, bearing only small horns, a tail, 
and a cloven left hoof to distinguish him from a human. 
His crimson throne stands in the heart of the Iron City 
of Dis, a hideous metropolis that is the largest in the 
Nine Hells. Planar travelers come here to conspire with 
devils and to close deals with night hags, rakshasas, 
incubi, succubi, and other fiends, Dispater collects a 
piece of every deal through special provisions that are 
added to contracts signed on his layer of the Nine Hells. 

Dispater is one of Asmodeus s most loyal and 
resourceful vassals, and few beings in the multiverse 
can outwit him. He is more obsessed than most devils 
with striking deals with mortals in exchange for their 
souls, and his emissaries work tirelessly to foster evil 
schemes in the Material Plane. 

Minauros , The third layer of the Nine Hells is a 
stench-ridden bog. Acidic rain spills from the layer's 
brown skies, thick layers of scum cover its putrid 
surface, and yawning pits lie in wait beneath the murk to 
engulf careless wanderers. Cyclopean cities of ornately 
carved stone rise up from the bog. including the great 
city of Minauros for which the layer is named. 

The slimy walls of the city rise hundreds of feet into 
the air. protecting the flooded halls of Mammon. The 
Archduke of Minauros resembles a massive serpent 
with the upper torso and head of a hairless, horned 
humanoid. Mammon’s greed is legendary, and he is 
one of the few archdevils who will trade favors for gold 
instead of souls. His lair is piled high with treasures 
left behind by those who tried—and failed—to best him 
in a deal. 

Phlegethos . Phlegethos, the fourth layer, is a 
fiery landscape whose seas of molten magma brew 
hurricanes of hot wind, choking smoke, and pyroclastic 
ash. Within the fire-filled caldera of Phlegethos's largest 
volcano rises Abriymoch. a fortress city cast of obsidian 
and dark glass. With rivers of molten lava pouring 
down its outer w T alls, the city resembles the sculpted 
centerpiece of a gigantic, hellish fountain. 

Abriymoch is the seat of power for the two a re hd evils 
who rule Phlegethos in tandem: Archduke Belial and 
Archduchess Fiei na, Belial’s daughter. Belial is a 
handsome, powerfully built devil who exudes civility, 
even as his words carry an undercurrent of threat. His 
daughter is a statuesque devil whose beauty encases the 
blackest heart in die Nine Hells. The alliance of Belial 
and Fierna is unbreakable, for both are aware that their 
mutual survival hinges on it 

Stygia* The fifth layer of the Nine Hells is a freezing 
realm of ice within which cold flames burn. A frozen sea 
surrounds the layer, and its gloomy sky crackles with 
lightning. 

Archduke Levisms once betrayed Asmodeus and is 
now encased deep in the ice of Stygia as punishment. 

He rules this layer ah rhe same, communicating 
telepath ica I ly with his I lowers and servants, both in 
the Nine Hells and n the Material Plane. 























Stygia is also home to its previous ruler, the 
serpentine archdevil Geryon, who was dismissed 
by Asmodeus to allow the imprisoned Levistus 
to regain his rule. Geryon's fall from grace has 
spurred much debate within the infernal courts. No 
one is certain whether Asmodeus had some secret 
cause to dismiss the archdevil or whether he is testing 
j cry on's allegiance for some greater purpose. 

Malbolge. Malbolge, the sixth layer, has outlasted 
many rulers, among them Malagard the Hag Countess 
and the archdevil Moloch. Malagard fell out of favor and 
a as struck down by Asmodeus in a fit of pique, while 
her predecessor, Moloch, still lingers somewhere on 
the sixth layer as an imp, plotting to regain Asmodeus's 
favor. Malbolge is a seemingly endless slope, like the 
sides of an impossibly huge mountain. Parts of the 
layer break off from time to time, creating deadly and 
deafening avalanches of stone. The inhabitants of 
Malbolge live in crumbling fortresses and great caves 
carved into the mountainside, 

Malbolge s current archduchess is Asmodeuss 
daughter, Glasya. She resembles a succubus with 
her small horns, leathery wings, and forked tail. She 
inherited her cruelty and love of dark schemes from 
her father. The citadel that serves as her domicile on 
the slopes of Malbolge is supported by cracked pillars 
and buttresses that are sturdy yet seem on the verge of 
collapse. Beneath the palace is a labyrinth lined with 
cells and torture chambers, where Glasya confines and 
torments those who displease her, 

Maladomini . The seventh layer, Maladomini, is ruin- 
covered wasteland. Dead cities form a desolate urban 
landscape, and between them lie empty quarries, 
crumbling roads, slag heaps, the hollow shells of 
empty fortresses, and swarms of hungry flies. 

The Archduke of Maladomini is Baal zebu I, 
the Lord of Flies. A bloated fiend with the Sower 
body of an enormous slug, Baal zebu Fs form was 
inflicted on him by Asmodeus as punishment for 
wavering loyalty. Baalzebu! is a miserable and 
degenerate monstrosity who has long conspired to 
usurp Asmodeus, yet has failed at every turn. He carries 
a curse that causes any deal made with him to lead to 
calamity, Asmodeus occasionally shows Baalzebu I favor 
for reasons no other archduke can fathom, though some 
suspect that the Archduke of Nessus still respects the 
worthiness of this fallen adversary. 

Cania . Cania, Lhe eighth layer of the Nine Hells, is 
an icy hellseape, whose ice storms can tear flesh from 
bone. Cities embedded in the ice provide shelter for 
quests and prisoners of Cania’s ruler, the brilliant and 
conniving archdevil Mephistopheles. 

Mephistopheles dwells in the ice citadel of Mephistar, 
where he plots to seize the Throne of Baator and 
conquer the planes. He is Asmodeus’s greatest enemy 
and ally, and the Archduke of Nessus appears to 
trust Mephistophelcs's counsel when it is offered. 
Mephistopheles knows he can't depose Asmodeus until 
his adversary makes a grave miscalculation, and so 
both wait to see what circumstances might turn them 










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against each other Mephistopheles is also a godfather of 
sorts to Glasya, further complicating the relationship, 

Mephistopheles is a tall, striking devil with impressive 
horns and a cool demeanor. He trades in souls, as do 
other archdevils, but he rarely gives his time to any 
creatures not worthy of his personal attention. His 
instincts are as razor sharp as Cania's frigid winds, 
and it is said that only Asm ode us has ever deceived or 
thwarted him, 

Nessus < The lowest layer of the Nine Hells, Nessus is 
a realm of dark pits whose walls are set with fortresses. 
There, pit hend generals loyal to Asmodeus garrison 
their diabol ical legions and plot the conquest of the 
multiverse. At the center of the layer stands a vast 
rift of unknown depth, out of which rises the great 
citadel-spire of Malsheem, home to Asmodeus and his 
infernal court. 

Malsheem resembles a gigantic hollowed-out 
stalagmite. The citadel is also a prison for souls that 
Asmodeus has locked away for safekeeping. Convincing 
him to release even one of those souls comes at a steep 
price, and it is rumored that the Archduke of Nessus has 
claimed whole kingdoms in the past for such favors. 

Asmodeus most often appears as a handsome, 

I bearded humanoid with small horns protruding from 

his forehead, piercing red eyes, and flowing robes. 

He can also assume other forms and is seldom seen 
without his ruby-tipped scepter in hand. Asmodeus is 
the most cunning and well-mannered of archdevils. The 
ultimate evil he represents can be seen only when he 
wills it so, or if he forgets himself and flies into a rage, 

1 Acheron_ 

Acheron has four layers, each made of enormous iron 
cubes floating in an airy void. Sometimes the cubes 
collide. Echoes of past collisions linger throughout the 
plane, mingling with the sounds of armies colliding. 
That’s the nature of Acheron: strife and war, as the 
spirits of fallen soldiers join in endless battle against 
ores devoted to Gruumsh, goblinoids loyal to Maglubiyek 
and legions assembled by other warmongering gods. 

Optional Rule: Bloodlust 
Acheron rewards a creature for harming other creatures 
by imbuing that creature with the strength to keep 
fighting. While on Acheron, a creature gains temporary 
hit points equal to half its hit point maximum whenever 
it reduces a hostile creature to 0 hit points. 


Mechanus 

On Mechanus. law is reflected in a realm of clockwork 
gears, all interlocked and turning according to their 
measure. The cogs seem to be engaged in a calculation 
so vast that no deity can fathom its purpose. Mechanus 
embodies absolute order, and its influence can be felt on 
those who spend time here. 

Modrons are the primary inhabitants of Mechanus. 
The plane is also home to the creator of the modrons: a 
godlike being called Primus. 

Optional Rule: Law of Averages 

While on Mechanus, creatures always use the average 
damage result for attacks and spells. For example, an 
attack that normally deals Id 10 + 5 damage always 
deals 10 damage on Mechanus. 

Optional Rule: Imposing Order 

At the end of each long rest taken on this plane, a visitor 
that isn't lawful neutral must make a DC 10 Wisdom 
saving throw. On a failed save, the creature s alignment 
changes to lawful neutral. The creature s alignment 
reverts to normal after one day spent on a plane other 
than Mechanus. Casting the dispel evil and good spell 
on the creature also restores its original alignment 

Arcadia _ 

Arcadia thrives with orchards of perfectly lined trees, 
ruler-straight streams, orderly fields, perfect roads, and 
cities laid out in geometrically pleasing shapes. The 
mountains are unblemished by erosion. Everything on 
Arcadia works toward the common good and a flawless 
form of existence. Here, purity is eternal, and nothing 
intrudes on harmony. 

Night and day are determined by an orb that floats 
above Arcadia's highest peak. Half of the orb radiates 
sunlight and brings about the day; the other half sheds 
moonlight and brings on the starry night. The orb 
rotates evenly without fail, spreading day and night 
across the entire plane. 

The weather in Arcadia is governed by four allied 
demigods called the Storm Kings: the Cloud King, the 
Wind Queen, the Lightning King, and the Rain Queen. 
Each one lives in a castle surrounded by the type of 
weather that king or queen controls. 

Hidden below Arcadia’s beautiful mountains are 
numerous dwarven kingdoms that have withstood 
the passage of millennia. Dwarves born on this plane 






























have the celestial type and are always brave and 
ndhearted. but otherwise they look and behave like 
>final dwarves. 

Optional Rule: Planar Vitality 

While on this plane, creatures can't be frightened or 

z oisoned, and they are immune to disease and poison. 

Other Planes 

A variety of realms exist between or beyond the 
ther planes. 

The O utlands and Sigil _ 

he Outlands is the plane between the Outer Planes. 

It is the plane of neutrality, incorporating a little of 
everything and keeping all aspects in a paradoxical 
balance—simultaneously concordant and in opposition. 
The plane has varied terrain, with prairies, mountains, 
and shallow rivers. 

The Outlands is circular, like a great disk. In fact, 
hose who envision the Outer Planes as a wheel point 
t he Outlands as proof, calling it a microcosm of the 
planes. That argument might be circular, since the 
arrangement of the Outlands inspired the idea of the 
’ real; Wheel in the first place. 

Around the outside edge of the circle, evenly spaced, 
are the gate-towns: sixteen settlements, each built 
around a portal leading to one of the Outer Planes. Each 
town shares many of the characteristics of the plane 


where its gate leads. Planar emissaries often meet in 
these towns, so it isn’t unusual to see strange pairings, 
such as a celestial and a fiend arguing in a tavern while 
sharing a fine bottle of wine. 

Given the fact that you can ride a horse in the 
Outlands from a heaven to a hell, a planar-themed 
campaign can be set there without the need for planar 
travel. The Outlands is the closest the Outer Planes 
come to being like a world on the Material Plane. 

Gate-Towns of the Outlands 


Town 

Gate Destination 

Excelsior 

The Seven Heavens of Mount Celestia 

Tradegate 

The Twin Paradises ofBytopia 

Ecstasy 

The Blessed Fields of Elysium 

Faunel 

The Wilderness of the Beastlands 

Sylvania 

The Olympian Glades of Arborea 

Glorium 

The Heroic Domains of Ysgard 

Xaos 

The Ever-Changing Chaos of Umbo 

Bedlam 

The Windswept Depths of Pandemonium 

Plague-Mort 

Curst 

The Infinite Layers of the Abyss 

The Tarterian Depths of Career! 

Hopeless 

The Gray Waste of Hades 

Torch 

The Bleak Eternity of Gehenna 

Ribcage 

The Nine Hells of Baator 

Rigus 

The infinite Battlefield of Acheron 

Automata 

The Clockwork Nirvana of Mechanus 

Fortitude 

The Peaceable Kingdoms of Arcadia 


C: H A PT E R 2 I C JR E AT t N G A M U LT iV E RS E 






















































































Sigil, City of Doors 

At the center of the Gutlands, like the axle of a great 
wheel, is the Spire—a needle-shaped mountain that 
rises high into the sky. Above this mountain's narrow 
peak floats the ring-shaped city of Sigil its myriad 
structures built on the ring's inner rim. Creatures 
standing on one of SigiFs streets can see the city curve 
up over their heads and—most disconcerting of all—the 
far side of the city directly overhead. Called the City of 
Doors, this bustling planar metropolis holds countless 
portals to other planes and worlds. 

Sigil is a trader's paradise. Goods, merchandise, and 
information come here from across the planes. The city 
sustains a brisk trade in information about the planes, 
particularly the command words or items required for 
the operation of particular portals. Portal keys of all 
kinds are bought and sold here. 

The city is the domain of the inscrutable Lady of Pain, 
a being as old as gods and with purposes unknown to 
even the sages of her city. Es Sigil her prison? Is she the 
fallen creator of the multi verse? No one knows. Or if 
they do, they aren't telling. 

Demiplanes 

Demiplanes are extradimensional spaces that come 
into being by a variety of means and boast their own 
physical laws. Some are created by spells. Others exist 
naturally, as folds of reality pinched off from the rest 
of the multi verse. Theoretically, a plane shift spell can 
carry travelers to a demiplane. but the proper frequency 
required for the tuning fork would be extremely hard to 
acquire. The gate spell is more reliable, assuming the 
caster knows of the demiplane, 

A demiplane can be as small as a single chamber or 
large enough to contain an entire realm. For example* 
a Maidenkainen's magnificent mansion spell creates a 
demiplane consisting of a foyer with multiple adjoining 
rooms, while the land of Barovia (in the Ravenloft 
setting) exists entirely wdthin a demiplane under the 
sway of its vampire lord, Strahd von Zarovich* When a 
demiplane is connected to the Material Plane or some 
other plane, entering it can be as simple as stepping 
through a portal or passing through a wall of mist* 

The Far Realm 

The Far Realm is outside the known multi verse* In 
fact, it might be an entirely separate universe with its 
own physical and magical laws* Where stray energies 
from the Far Realm leak onto another plane, matter 
is warped into alien shapes that defy understandable 
geometry and biology. Aberrations such as mind flayers 
and beholders are either from this plane or shaped by its 
strange influence* 

The entities that abide in the Far Realm itself are 
too alien for a normal mind to accept without strain. 
Titanic creatures swim through nothingness there, and 
unspeakable things whisper awful truths to those who 
dare listen. For mortals, knowledge of the Far Realm 
is a struggle of the mind to overcome the boundaries of 
matter, space, and sanity* Some warlocks embrace this 
struggle by forming pacts with entities there. Anyone 


who has seen the Far Realm mutters about eyes, 
tentacles, and horror. 

The Far Realm has no well-known portals, or at least 
none that are still viable. Ancient elves once opened a 
vast portal to the Far Realm within a mountain called 
Firestorm Peak, but their civilization imploded in blood 
terror and the portal’s location—even its home world—is 
long forgotten. Lost portals might still exist, marked by 
an alien magic that mutates the area around them* 

Known Worlds of the 
Material Plane 

Worlds of the Material Plane are infinitely diverse. The 
most widely known worlds are the ones that have been 
published as official campaign settings for the D&D 
game over the years. If your campaign takes place on 
one of these worlds, that world belongs to you in your 
campaign* Your version of the world can diverge wildly 
from what’s in print* 

On Toril (the heroic-fantasy world of the Forgotten 
Realms setting), fantastic cities and kingdoms stand 
amid the remains of ancient empires and realms 
long forgotten. The world is vast, its dungeons rich 
with history. Beyond the central continent of Facrun. 
Toril includes the regions of AI-Qadim. Kara-Tur, 
and Maztica, 

On Oerth (the sword-and-sorcery world of the 
Grey hawk setting), heroes such as Bigby and 
Mordenkainen are driven by greed or ambition. The 
hub of the region called the Flanaess is the Free City of 
Grey hawk, a city of scoundrels and archmagi, rife with 
adventure. An evil demigod, luz. rules a nightmarish 
realm in the north* threatening all civilization. 

On Krynn (the epic-fantasy world of the Dragon lance 
setting), the return of the gods is overshadowed by the 
rise of the evil dragon queen Takhisis and her dragons 
and dragon armies, which plunge the continent of 
Ansa Ion into war. 

On Athas (the sword-and-sorcery world of the Dark 
Sun setting), a drop of water can be worth more than a 
human life. The gods have abandoned this desert world, 
where powerful sorcerer-kings rule as tyrants, and 
metal is a scarce and precious commodity. 

On Eberron (the heroic-fantasy world of the Eberron 
setting), a terrible war has ended, giving rise to a cold 
war fueled by political intrigue* On the continent of 
Khorvaire, magic is commonplace, dragonmarked 
houses rival kingdoms in power, and elemental vehicles 
make travel to the far corners of the world possible. 

On Aebrynis (the heroic-fantasy world of the 
Birthright setting), scions born from divine bloodlines 
carve up the continent of Cerilia. Monarchs. prelates, 
guild masters, and great wizards balance the demands 
of rulership against the threat of horrible abominations 
born from the blood of an evil god* 

On Mystara (a heroic-fantasy world born out of the 
earliest editions of the D&D game), diverse cultures, 
savage monsters, and w arring empires collide. 

The world is further shaped by the meddling of the 
immortals—former adventurers raised to nearly 
divine status* 


SB 


C H A PIER 2 | C K E ATI N G A M U i *1IV ERSE 







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Chapter 3: Creating Adventures 


REATING ADVENTURES IS ONE OF THE GREATEST 

rewards of being a Dungeon Master. It's a 
way to express yourself, designing fantastic 
locations and encounters with monsters, 
traps, puzzles, and conflicts. When you 
design an adventure, you call the shots. You 
:o things exactly the way you want to. 

Fundamentally, adventures are stories. An adventure 
5 hares many of the features of a novel, a movie, an 
osue of a comic, or an episode of a TV show. Comic 
-cries and serialized TV dramas are particularly good 
iinparisons, because of the way individual adventures 
- limited in scope but blend together to create a larger 
narrative. If an adventure is a single issue or episode, a 
ampaign is the series as a whole. 

Whether you're creating your own adventures or using 
ublished adventures, you’ll find advice in this chapter 
help you create a fun and memorable experience for 
our players. 

Creating an adventure involves blending scenes of 
\ploration, social interaction, and combat into a unified 
whole that meets the needs of your players and your 
ampaign. But its more than that. The basic elements 
good storytelling should guide you throughout this 
■ rocesst so your players experience the adventure as a 
story and not a disjointed series of encounters. 

Elements of a 
Great Adventure 

The best adventures have several things in common. 

A Credible Threat 
r adventure needs a threat worthy of the heroes' 
Tendon. The threat might be a single villain or 
■'lister, a villain with lackeys, an assortment of 
monsters, or an evil organization. Whatever their 
uure, the antagonists should have goals that the 
rocs can uncover and thwart. 

Familiar Tropes with Clever Twists 
might seem stereotypical to build an adventure 
iround dragons, ores, and insane wizards in towers, 
jr these arc staples of fantasy storytelling. It might 
To seem trite to begin an adventure in a tavern, but 
mi's an idea that remains true to D&D. Familiar 
'Tory elements are fine, as long as you and the players 
casionally put a spin on them. For example, the 
mysterious figure who presents adventurers with 
quest on behalf of the king might be the king in 
Tsguise. The crazy wizard in the tower might be a 
rt ejected illusion created by a band of greedy gnome 
hieves to guard their loot. 

A Clear Focus on the Present 

\n adventure is about the here and now. A little bit 
history might be needed to set the story in motion, 
ind the adventurers might discover interesting lore of 
:he past in the course of the adventure. In general, let 


ihc world's history be evident in the present situation. 
Instead of dealing with what happened in the past, 
an adventure should focus on describing the present 
situation, what the bad guys are up to, and how the 
adventurers become involved in the story. 

Heroes Who Matter 

An adventure should allow the adventurers’ actions and 
decisions to matter. Though it might resemble a novel 
or a TV episode, an adventure needs to allow for more 
than one outcome. Otherwise, players can fed as if 
they’ve been railroaded —set onto a course that has only 
one destination, no matter how hard they try to change 
it. For example, if a major villain shows up before the 
end of the adventure, the adventure should allow for the 
possibility that the heroes might defeat that villain. 

Something for All Player Types 

As outlined in the book s introduction, players come 
to the gaming table with different expectations. An 
adventure needs to account for the different players and 
characters in your group, drawing them into the story as 
effectively as possible. 

As a starting point, think about your adventure in 
terms of the three basic types of activity in the game: 
exploration, social interaction, and combat. If your 
adventure includes a balance of all three, it r s likely to 
appeal to all types of players. 

An adventure you create for your home campaign 
doesn't have to appeal to every abstract player type- 
only to the players sitting down at your own table. If you 
don’t have any players who like fighting above all else* 
then don't feel you have to provide a maximum amount 
of combat to keep the adventure moving. 

Surprises 

Look for opportunities to surprise and delight your 
players. For example, the exploration of a ruined castle 
on a hill might lead to the discovery of a dragon’s tomb 
hidden underneath, A trek through the wilderness 
might lead to the discovery of a tower that appears only 
on nights of the full moon. Players remember such 
locations. 

Too many surprises can be off-putting to players, but 
adding the occasional twist gets players to adjust their 
tactics and think creatively. For example, you could 
spruce up a goblin lair by including goblin sappers 
with kegs of oil strapped to their backs. An attack on a 
villain’s estate might be complicated by the unexpected 
arrival of a special guest. 

When preparing for possible combat encounters, 
think about odd pairings of monsters, such as a 
hobgoblin warlord and bis pet manticore, or will- 
o’-wisps in league with a young black dragon. Have 
surprise reinforcements show up. or give the monsters 
unusual tactics. Throw in the occasional red herring, 
deception, and plot twist to keep players on their toes, 
but try not to go overboard. Sometimes a simple, 
straightforward encounter with an ore guard is just as 
fun for your players. 

0 RE AT 1N G A D V K N TO R E S 



CHAPTER 3 












Useful Maps 

A good adventure needs thoughtfully constructed 
maps. Wilderness areas sprinkled with i nteresting 
landmarks and other features are better than vast 
expanses of unchanging terrain. Dungeons that have 
branching corridors and similar decision points give 
players the opportunity to choose which direction their 
characters should go. Presenting the characters with 
options allows the players to make choices that keep the 
adventure unpredictable. 

If drawing maps isn’t your strong suit, the internet is 
a great place to look for adventure maps that have been 
made freely available for use, as well as floor plans of 
real-world buildings and images that can inspire your 
mapmaking. You can also use software to help put your 
maps together. 

Published Adventures 

Published adventures are available for purchase if you 
have neither the time nor the inclination to write an 
adventure of your own, or if you want a change of pace, 

A published adventure includes a pregenerated scenario 
with the maps, NPCs, monsters, and treasures you need 
to run It, An example of a published adventure appears 
in the D&D Starter Set. 

You can make adjustments to a published adventure 
so that it better suits your campaign and appeals to 
your players. For example, you can replace the villain 
of an adventure with one the players have already 
encountered in your campaign, or add something to 
the background of the adventure so that it involves your 
players" characters in ways that the adventure’s designer 
never cou Id have ima gi ned. 

A published adventure can't account lor every 
action the characters might take. The nice thing 
about published adventures is that they allow you to 
focus your game preparation time on highlighting plot 
developments in your campaign that the adventure 
can’t address. 

Published adventures also provide inspiration. You 
might not use an adventure as written, but it might spur 
ideas, or you can pul! out one part of it and repurpose 
that part for your needs, for example, you might use a 
map of a temple but re populate it with monsters of your 
choice, or you might use a chase sequence as a model 
for a pursuit scene in your campaign. 

Adventure Structure 

Like every story, a typical adventure has a beginning, a 
middle, and an end. 

Beginning _ 

An adventure starts with a book to get the players 
interested, A good adventure hook piques the interest 
of the players and provides a compelling reason for 
their characters to become involved in the adventure. 
Maybe the adventurers stumble onto something they're 
not meant to see, monsters attack them on the road, an 
assassin makes an attempt on their lives, ora dragon 
shows up at the city gates. Adventure hooks such as 
these can instantly draw players into your story, 

tH A l J !ER 5 j U RE ATI N G A IA E N 71 RE? 


The beginning of a good adventure should be exciting 
and focused. You want the players to go home looking 
forward to the next session, so give them a clear sense 
of where the story is headed, as well as something to 
look forward to. 

Middle _ 

The middle of an adventure is where the bulk of l he 
story unfolds. With each new challenge, the adventurers 
make important choices that have a clear effect on the 
conclusion of the adventure. 

Over the course of the adventure, the characters might 
discover secrets that reveal new goals or change their 
original goal. Their understanding of what’s going on 
around them might change. Maybe rumors of treasure 
were a trick to lure them into a death trap. Perhaps 
the so-called spy in the queen’s court is actually a 
scheme concocted by the monarch herself to seize even 
more power. 

At the same time the adventurers are working to 
thwart their adversaries, those adversaries are trying 
to carry out their nefarious plans. Such enemies 
might also work to hide their deeds, mislead potential 
adversaries, or confront problems directly, perhaps by 
trying to kill meddlers. 

Remember that the characters are the heroes of the 
story. Never let them become mere spectators, watching 
as events unfold around them that they can't influence. 

Ending _ 

The ending encompasses the climax the scene or 
encounter in which the tension building throughout the 
adventure reaches its peak. A strong climax should have 
the players on edge, with the fate of the characters and 
much more hanging in the balance. The outcome, which 
hinges on the characters’ actions and decisions, should 
never be a forgone conclusion. 

An ending needn’t tie everything up in a neat bow. 
Story threads can be left hanging, waiting to be resolved 
in a later adventure, A little bit of unfinished business is 
an easy way to transition from one adventure to the next. 

Adventure Types 

An adventure can be location-based or event-based, as 
discussed in the sections that follow. 

Location-Based Adventures 

Adventures set in crumbling dungeons and remote 
wilderness locations are the cornerstone of countless 
campaigns. Many of the greatest D&D adventures of all 
time are location-based. 

Creating a location-based adventure can be broken 
down into a number of steps. Each step provides tables 
from which you can select the basic elements of your 
adventure. Alternatively, roll on the tables and see how 
the random results inspire you. You can mix up the 
order of the steps. 

1, Identify the Party’s Goals 

The Dungeon Goals table provides common goals 
that drive or lure adventurers into dungeons. The 















v j ernes s Goals table provides similar inspiration for 
dventure focused on outdoor exploration. The Other 
As table suggests beat ion-based adventures that 
n'i fit neatly into the first two categories. 

Dungeon Coals 
d2G Coal 

Stop the dungeon's monstrous inhabitants from 
raiding the surface world, 

2 Foil a villain’s evil scheme, 

3 Destroy a magical threat inside the dungeon. 

4 Acquire treasure, 

5 Find a particular item for a specific purpose, 

6 Retrieve a stolen item hidden in the dungeon. 

Find information needed for a special purpose, 

S Rescue a captive, 

9 Discover the fate of a previous adventuring party, 

10 Find an NPC who disappeared in the area, 

11 Slay a dragon or some other challenging monster, 

12 Discover the nature and origin of a strange location 
or phenomenon. 

13 Pursue fleeing foes taking refuge in the dungeon, 

14 Escape from captivity in the dungeon, 

15 Clear a ruin so it can be rebuilt and reoccupied, 

16 Discover why a villain is interested in the dungeon. 

17 Win a bet or complete a rite of passage by surviving 
in the dungeon for a certain amount of time. 

IS Parley with a villain in the dungeon, 

19 Hide from a threat outside the dungeon. 

20 Rolf twice, ignoring results of 20, 

Wilderness Coals 

d20 Goal 

1 Locate a dungeon or other site of interest (roll on 
the Dungeon Goals table to find out why), 

2 Assess the scope of a natural or unnatural disaster. 

3 Escort an NPC to a destination, 

4 Arrive at a destination without being seen by the 
villain's forces, 

5 Stop monsters from raiding caravans and farms. 

6 Establish trade with a distant town. 

7 Protect a caravan traveling to a distant town. 

8 Map a new land, 

9 Find a place to establish a colony, 

10' Find a natural resource. 

11 Hunt a specific monster. 

12 Return home from a distant place, 

13 Obtain information from a reclusive hermit. 

14 Find an object that was lost in the wilds, 

15 Discover the fate of a missing group of explorers, 

16 Pursue fleeing foes. 

17 Assess the size of an approaching army, 

18 Escape the reign of a tyrant, 

1 9 Protect a wilderness site from attackers. 

20 Roll twice, ignoring results of 20. 



CHAPTER 3 ! CREATING ADVENTURES 




















OlVi'E'ft oOAVS 


d 12 

Coal 

1 

Seize control of a fortified location such as a 

fortress, town, or ship. 

2 

Defend a location from attackers. 

3 

Retrieve an object from inside a secure location in 

a settlement. 

4 

Retrieve an object from a caravan. 

5 

Salvage an object or goods from a lost vessel or 

caravan. 

6 

Break a prisoner out of a jail or prison camp. 

7 

Escape from a jail or prison camp. 

8 

Successfully travel through an obstacle course to 
gain recognition or reward. 

9 

infiltrate a fortified location. 

10 

Find the source of strange occurrences in a 
haunted house or other location. 

11 

Interfere with the operation of a business. 

12 

Rescue a character, monster, or object from a 
natural or unnatural disaster. 

2. Identify Important MFCs 

Use the Adventure Villains, Adventure Allies, and 
Adventure Patrons tables to help you identify these 
NPCs. Chapter 4 can help you bring these NPCs to life* 

Adventure Villains 

d20 

Villain 

1 

Beast or monstrosity with no particular agenda 

2 

Aberration bent on corruption or domination 

3 

Fiend bent on corruption or destruction 

4 

5 

Dragon bent on domination and plunder 

Giant bent on plunder 

6-7 

Undead with any agenda 


8 Fey with a mysterious goal 

9-10 Humanoid cuitist 

11-12 Humanoid conqueror 

13 Humanoid seeking revenge 

14-15 Humanoid schemer seeking to rule 

16 Humanoid criminal mastermind 

17-18 Humanoid raider or ravager 

19 Humanoid under a curse 

20 Misguided humanoid zealot 

Adventure Allies 

dl2 Ally 

1 Skilled adventurer 

2 Inexperienced 
adventurer 

3 Enthusiastic 
commoner 

4 Soldier 

5 Priest 

6 Sage 


e ! i A PT FIR 3 I C RE AT i N O AD\ E NI V R ES 


Adventure ?aieone 


d20 

Patron 

d20 

Patron 

D2 

Retired adventurer 

15 

Old friend 

3-4 

Local ruler 

16 

Former teacher 

5-6 

Military officer 

17 

Parent or other 

7-8 

Temple official 


family member 

9-10 

Sage 

IS 

Desperate 

11-12 

Respected elder 


commoner 

13 

Deity or celestial 

19 

Embattled 

14 

Mysterious fey 

20 

merchant 

Villain posing as a 
patron 


3, Flesh Out the Location Details 

Chapter 5 offers suggestions for creating and fleshing 
out an adventure location, including tables that can 
help you establish the important elements of a dungeon* 
wilderness area* or urban setting, 

4, Find the Ideal Introduction 

An adventure can begin with a social interaction 
encounter in which the adventurers find out what they 
must do and why, Tt can start with a surprise attack, 
or with the adventurers coming across information by 
accident* The best introductions arise naturally from the 
goals and setting of the adventure. Let the entries in the 
Ad ve n t u re 1 n t rod action table inspire y o u. 

Adventure Introduction 

d 12 Introduction 

1 While traveling in the wilderness, the characters 
fall into a sinkhole that opens beneath their feet, 
dropping them into the adventure location. 

2 While traveling in the wilderness, the characters 
notice the entrance to the adventure location, 

3 While traveling on a road, the characters are 
attacked by monsters that flee into the nearby 
adventure location. 

4 The adventurers find a map on a dead body. In 
addition to the map setting up the adventure, the 
adventure’s villain wants the map, 

5 A mysterious magic item or a cruel villain teleports 
the characters to the adventure location. 

6 A stranger approaches the characters in a tavern 
and urges them toward the adventure location, 

7 A town or village needs volunteers to go to the 
adventure location. 

8 An NPC the characters care about needs them to 
go to the adventure location, 

9 An NPC the characters must obey orders them to 
go to the adventure location. 

10 An NPC the characters respect asks them to go to 
the adventure location, 

11 One night, the characters ali dream about entering 
the adventure location, 

12 A ghost appears and terrorizes a village. Research 
reveals that it can be put to rest only by entering the 
adventure location. 


d!2 

Ally 

7 

Revenge seeker 

8 

Raving lunatic 

9 

Celestial ally 

10 

Fey ally 

11 

Disguised 


monster 

12 

Villain posing as 


an ally 


4 

T 













r Consider the Ideal Climax 
.t climactic ending of an adventure fulfills the promise 
f all ihat came before. Although the climax must hinge 
;he successes and failures of the characters up to 
at moment, the Adventure Climax table can provide 
. ggestions to help you shape the end of your adventure. 

-□venture Climax 

dl 2 Climax 

The adventurers confront the main villain and a 
group of minions in a bloody battle to the finish. 

2 The adventurers chase the villain while dodging 
obstacles designed to thwart them, leading to a final 
confrontation in or outside the villain’s refuge. 

3 The actions of the adventurers or the villain result 
in a cataclysmic event that the adventurers must 
escape. 

4 The adventurers race to the site where the villain is 
bringing a master plan to its conclusion arriving 
just as that plan is about to be completed. 

5 The villain and two or three lieutenants perform 
separate rites in a large room. The adventurers 
must disrupt all the rites at the same time. 

6 An ally betrays the adventurers as they’re about to 
achieve their goal. (Use this climax carefully, and 
don't overuse it.) 

7 A portal opens to another plane of existence. 
Creatures on the other side spill out, forcing the 
adventurers to dose the portal and deal with the 
villain at the same time. 

8 Traps, hazards, or animated objects turn against 
the adventurers while the main villain attacks. 

9 The dungeon begins to collapse while the 
adventurers face the main villain, who attempts to 
escape in the chaos. 

10 A threat more powerful than the adventurers 
appears, destroys the main villain, and then turns 
its attention on the characters. 

11 The adventurers must choose whether to pursue 
the fleeing main villain or save an NPC they care 
about or a group of innocents, 

12 The adventurers must discover the main villain’s 
secret weakness before they can hope to defeat that 
villain. 

6. Plan Encounters 

After youVe created the location and the overall story of 
ihe adventure, it's time to plan out the encounters that 
make up that adventure. In a location-based adventure, 
most cncou nters are keyed to specific locations on 
a map. For each room or wilderness area on the 
adventure map, your key describes whats in that area: 
its physical features, as well as any encounter that plays 
out there. The adventure key turns a simple sketch 
of numbered areas on graph paper into encounters 
designed to entertain and intrigue your players. 

See “Creating Encounters" later in this chapter for 
guidance on crafting individual encounters. 


Event-Based Adventures 

In an event-based adventure, the focus is on what the 
characters and villains do arid what happens as a 
result. The question of where those things happen is of 
secondary importance. 

Building an event-based adventure is more work than 
building a location-based one, but the process can be 
si mpli lie d by fo 11 ow i n g a nu mbe r of st ra i g h L forwa r d 
steps. Several steps include tables from which you 
can choose adventure elements or roll randomly for 
inspiration. As with location-based adventures, you don't 
necessarily have to follow these steps in order. 

L Start with a Villain 

Putting care into creating your villain will pay off later, 
since the villain plays such a pivotal role, in advancing 
the story. Use the Adventure Villains table in the 
previous section to get started, and use the information 
in chapter 4 to help flesh out the villain. 

For example, your villain might be an undead creature 
seeking to avenge a past imprisonment or injury. An 
interesting aspect of an undead villain is that this past 
injury might have occurred centuries ago, inspiring 
revenge against the descendants of those that harmed 
it. Imagine a vampire imprisoned by the members of a 
religious order of knights, and who now seeks revenge 
against the current members of that order. 

2, Determine the Villain's Actions 

Once you have a villain, it s time to determine what 
steps the villain takes to achieve its goals. Create a 
timeline showing what the villain does and when, 
assuming no interference from the adventurers. 

Building on the previous example, you might decide 
that your vampire villain murders several knights. By 
slipping past locked doors in gaseous form, the vampire 
is able to make the deaths appear natural at first, but 
it soon becomes clear that a depraved killer is behind 
the murders. 

If you need additional inspiration, consider a few 
different options for how the vilIain’s actions unfold over 
the course of the adventure. 


Event-Based Villain 

d€ Type of Actions 

1 Big event 

2 Crime spree 

3 Growing 
corruption 


Actions 


d6 

Type of Actions 

4 

One and done 

5 

Serial crimes 

6 

Step by step 


Big Event . The villain’s plans come to fruition during 
a festival, an astrological event, a holy (or unholy) rite, a 
royal wedding, the birth of a child, or some similar fixed 
time. The villain’s activities up to that point are geared 
toward preparation for this event. 

Crime Spree „ The villain commits acts that become 
bolder and more heinous over time, A killer might start 
out by targeting the destitute in the city slums before 
moving up to a massacre in the marketplace, increasing 
the horror and the body count each time. 










Growing Corruption, As time passes, the villain's 
power and influence grow, affecting more victims 
across a larger area. This might take the form of armies 
conquering new territory, an evil cult recruiting new 
members, or a spreading plague, A pretender to the 
throne might attempt to secure the support of the 
kingdom s nobility in the days or weeks leading up to a 
coup* or a guild leader could corrupt the members of a 
town council or bribe officers of the watch. 

One and Done, The villain commits a single crime 
and then tries to avoid the consequences. Instead of an 


ongoing plan to commit more crimes, the villain's goal is 
to lie low or flee the scene. 

Serial Crimes, The villain commits crimes one after 
the other, but these acts are repetitive in nature, rather 
than escalating to greater heights of depravity. The 
trick to catching such a villain lies in determining the 
pattern underlying the crimes. Though serial killers are 
a common example of this type of villain, your villain 
could be a serial arsonist favoring a certain type of 
building, a magical sickness that affects spellcasters 
who cast a specific spell, a thief that targets a certain 
kind of merchant, or a doppelganger kidnapping and 
impersonating one noble after another. 

Sfep by Step, In pursuit of its goal* the villain carries 
out a specific set of actions in a particular sequence. 

A wizard might steal the items needed to create a 
phylactery and become a lich, ora cultisi might kidnap 
the priests of seven good^aligned gods as a sacrifice* 
Alternatively, the villain could be following a trail to find 
the object of its revenge, killing one victim after another 
while moving ever closer to the real target* 

3* Determine the Party's Goals 
You can use the Event-Based Goals table to set the 
party's goal. A goal can also suggest ways in which the 
adventurers become caught up in the villain's plans, and 
what exactly they must do to foil those plans. 


Event-Based Goals 


d20 

Coal 

1 

Bring the villain to justice. 

2 

Clear the name of an innocent NPC. 

3 

Protect or hide an NPC. 

4 

Protect an object. 

5 

Discover the nature and origin of a strange 
phenomenon that might be the villain's doing. 

6 

Find a wanted fugitive. 

7 

Overthrow a tyrant. 

£ 

Uncover a conspiracy to overthrow a ruler. 

9 

Negotiate peace between enemy nations or feuding 
families. 

10 

Secure aid from a ruler or council. 

n 

Help a villain find redemption. 

12 

Parley with a villain. 

13 

Smuggle weapons to rebel forces. 

14 

Stop a band of smugglers. 

15 

Gather intelligence on an enemy force. 

16 

Win a tournament. 

17 

Determine the villain’s identity. 

IS 

Locate a stolen item. 

19 

Make sure a wedding goes off without a hitch. 

20 

Roll twice, ignoring results of 20, 


For example, you roll a 10 on the table, indicating that 
the party's goal is to secure aid from a ruler or council 
You decide to connect that to the leadership of the order 
t a rge te d by yo u r va m p ire villain, M ay be t he o rd er' s 
leaders have a chest of jewels stolen from the vampire 
centuries ago, and the characters can use the chest as 
bait to trap the villain. 


AFTER 3 ! CREATING At 

















- Identify Important NPCs 

. ny event-based adventures require a well-detailed 
of NPCs. Some of these NPCs fall neatly into the 
regories of allies and patrons* but most are likely to 
: characters or creatures whose attitudes toward the 
i venturers remain undecided until the adventurers 
ract with them. (See chapter 4 for more information 
creating NPCs.) 

The elements of the adventure you've determined 
~ far should provide a clear idea of what supporting 
racters you need to create, as well as how much 
d you need to generate for each one, NPCs unlikely 
become involved in combat don't need full combat 
sties, for example, just as characters heavily 

■ volved in negotiation could have Ideals, bonds, and 
f vs. If it's helpful, roll on the Adventure Allies or 

■ :venture Patrons tables (in the "Location-Based 
Adventures" section, earlier in this chapter)* 

:. Anticipate the Villain's Reactions 

- the adventurers pursue their goals and foil the 
/Plain’s plans, how does the villain respond? Does it 

-h out in violence or send dire warnings? Does it 
: k for simple solutions to its problems or create more 
"i plica ted schemes to route around interference? 

Look over the villain’s actions that you outlined in 

- p 2. For each event arising from those actions, think 
■ tU how the adventurers are likely to react. If they 

in prevent an action or hamper its success* what effect 
cs that have on the villain’s overall plan? What can 
villain do to compensate? 

One way to track a villain’s reactions is by using a 
w chart. This might grow out of the timeline that 
scribes the villain’s plans, outlining liovv the villain 
_ is back on track after the adventurers thwart its plans. 

r the flowchart could be separate from the timeline, 
-sowing the various actions the adventurers might take 
md the villain’s response to those actions. 

o* Detail Key Locations 

A nee locations aren’t the focus of the adventure, they 
an be simpler and smaller than a dungeon complex 
: r an expanse of wilderness. 1 hey might be sped lie 
j cat ions in a city, or even individual rooms in locations 
here combat is likely to break out or significant 
xploration is needed, such as a throne room, a guild 
headquarters* a vampire's crumbling manor, or a 
nights' chapterhouse. 

7. Choose an Introduction and a Climax 
he Adventure Introduction table in the "Location- 
Based Adventures" section offers fun possibilities 
: or hooking the characters into the events of your 
adventure, including dreams, hauntings* and a simple 
lea for help. The Adventure Climax table in that same 
section includes adventure endings that work just as 
well for event-based adventures. 

For example* the Adventure Introduction tabic helps 
you decide that an ally the adventurers care about needs 
'heir help* Perhaps the NFC is a knight who believes 
mat a vampire is trying to kill him, or a friend or relative 


hoping to find the knight's murderer. This NFC brings 
the vampire’s crimes to the characters' attention. 

Looking over the Adventure Climax table, you might 
decide to have the adventurers bait the vampire with a 
chest of jewels stolen from its lair. As an added twist, 
you decide that the vampire's true goal is to retrieve a 
necklace among the jewels* The necklace is set with 
nine gems, and with these gems the vampire can open 
a gate to the Nine Hells, Should the vampire succeed, 
the adventurers will have a more pressing threat to deal 
with, as a powerful devil steps through the gate and 
honors some ancient pact it made with the vampire. 

8. Plan Encounters 

After you’ve created the overall story of the adventure, 
it’s time to plan out the encounters on which the 
events of that adventure will hang. In an event-based 
adventure, encounters occur when the villain’s agenda 
intersects the path of the characters. You can’t always 
anticipate exactly when or where that will happen, but 
you can create a list of possible encounters that the 
adventurers might experience. This can take the form of 
general descriptions of the villain’s forces, details of its 
lieutenants and minions* as well as encounters tied to 
the key locations of the adventure* 

Sec "Creating Encounters' 1 later in this chapter for 
guidance on crafting individual encounters. 

Mysteries _ 

A mystery is a form of event-based adventure that 
usually focuses on the adventurers’ efforts to solve a 
crime, usually a robbery or murder. Unlike the writer of 
a mystery novel, a Dungeon Master can t always predict 
what the characters will do in a mystery adventure. 

A villain whose actions are crime spree,’ "one and 
done." or "serial crimes ' might inspire you to craft 
a mystery adventure around that villain's crimes. 
Similarly, if the adventurers’ goals include determining 
the villain's identity, that might be part of a mystery. 

To build a mystery adventure, follow the steps for 
creating any event-based adventure* Then consider 
three additional elements for the adventure: the victim, 
the suspects, and the clues. 

Victim 

Think about the victim’s relationship to the villain. 
Though you can create a strong scenario with no such 
relationship, part of what makes a mystery exciting is 
the discovery of the twisted connections between NPCs 
and how those connections led to the crime* A random 
killing might be just as mysterious, but it lacks that 
emotional connection. 

Also look for a connection between the victim and one 
or more of the adventurers. One surefire way to draw 
adventurers into a mystery- including making them 
suspects- is to make the victim someone with whom the 
characters are acquainted. 

Suspects 

Your cast of characters should include an assortment 
of other NPCs who didn't commit the crime, but who 
had the motive, the means, or the opportunity to do so. 

C HAP T£R 3 j CREAT I NC AD\ ENTU RE5 












Suspects might he obvious or could come to light during 
the investigation. One technique often used in detective 
fiction is to create a closed circle of suspects—a finite 
number of individuals whose circumstances make them 
the only possible suspects. 

One tip for keeping the players and the adventurers 
guessing as to the identity of the villain is to ensure that 
more than one suspect has a secret. When questioned 
by the adventurers, a suspect might appear nervous or 
attempt to lie. despite being innocent of the crime. A 
secret business deal, an illicit affair, a dark past, or an 
uncontrolled vice are flaws that make suspects more 
interesting than NPCs with nothing to hide. 

Clues 

Clues point to the identity of the villain. Some clues are 
verbal, including the statements of the suspects and 
witnesses that help the adventurers develop a picture 
of what happened. Other clues are physical, such as an 
unfinished message written in the victim's blood, a piece 
of jewelry left behind by the villain, or a weapon found 
hidden in a suspect s room. 

A clue should connect a suspect to the crime, typically 
by shedding light on the suspect's motive, means, or 
opportunity. Some clues connect the wrong suspect 
to the crime, leading the adventurers in the wrong 
direction. Eventually, they must find other clues pointing 
in a different direction, or come across evidence that 
absolves the suspect. 

It’s better to populate your adventure with too many 
clues than too few. If the adventurers solve the mystery 
too quickly, you might feel some disappointment but 
the players will feel a sense of accomplishment. If the 
mystery is too hard, though, the players w ill become 
frustrated. Since you have to account for the possibility 
that the adventu rers wi ] 1 o verlooksome clues, usc 
redundant clues to ensure that the players have the 
knowledge needed to catch the villain. 

Intrigue _ 

Intrigue adventures are event-based adventures that 
revolve around power struggles. Intrigues are common 
in the courts of the nobility, but power struggles can 
play out just as easily in merchants' guilds, crime 
syndicates, and temple hierarchies. 

Rather than dark events and villainous plots, an 
intrigue adventure typically revolves around the 
exchange of favors, the rise and fall of individuals 
in power and influence, and the honeyed words of 
diplomacy. A prince's efforts to be named heir to the 
throne, a courtier's ambition to sit at the queen’s right 
hand, and a merchant's desire to open a trade route 
through enemy lands are the stuff of intrigue. 

Like all adventures, an intrigue adventure works only 
if the players and their characters are invested in the 
outcome. If no one cares who the king's chamberlain is 
or who has logging rights in the clven woods, throwing 
the characters into an adventure centered on those 
issues will fall fiat. However, if having the ear of the 
king s chamberlain means the characters can use royal 
soldiers to help them defend their own stronghold on the 
borderlands, players will he invested in the scenario. 


Adventurers usually become embroiled in intrigue 
when they need a favor from a powerful creature and 
have to perform a favor in exchange, or when the plots 
of powerful NPCs get in the way of the characters 
achieving their goals. Some of the event-based goals 
discussed earlier in this section lend themselves to 
intrigue adv entures. For example, if the adventurers 
must uncover a conspiracy, negotiate a peace treaty, or 
secure aid from a ruler or council, you might be looking 
at an intrigue adventure. 

The process of creating an intrigue adventure is 
similar to creating any other event-based adventure, 
with two main differences; how villains are handled and 
how the characters cat] gain influence. 

Villains 

Some intrigue adventures are driven by the actions of a 
single villain, such as a noble plotting the assassination 
of a monarch. However, an intrigue adventure can have 
multiple villains or no villain at all. 

No Villain . Some intrigue adventures revolve around 
the exchange of favors in the absence of a villain. For 
this type of adventure, skip steps 1 and 2 of the event- 
based adventure creation process (the villain and the 
villain’s actions) and move straight to the adventurers’ 
goals in step 3, Figure out why the adventurers become 
involved in the intrigue, then spend the bulk of your time 
creating the NPCs they interact with. 

Many Villains, Some intrigue adventures feature 
a whole cast of villains, each with its own goals, 
motivations, and methods. The adventurers might be 
drawn into the struggle of a court full of nobles vying 
for the throne in the wake of the king’s sudden death, 
or could find themselves negotiating the end to a deadly 
turf war among thieves’ guilds. In this scenario, youTl 
spend a lot of time on steps 1 and 2, developing each of 
the major NPCs as a distinct villain with an agenda. 

In step 5, you’ll need to develop each villain's reactions 
to the potential setbacks they face during the adventure. 
However, you don’t need to put equal effort into detailing 
the reactions of every villain, since many will likely 
echo each other or cancel each other out. Whenever 
the adventurers foil one villain’s plans, it might let 
another villains schemes move forward, advancing the 
adventure whether the foiled villain reacts or not. 

Influence 

Depending on the scenario, you might want to track 
the party’s influence with different NPCs or factions, or 
even track influence separately for each character. 

One way to handle influence is to treat it like 
inspiration. A character gains influence in a certain 
situation only if you grant it , and bringing influence 
into play requires spending it. Characters can gain 
influence by doing favors for NPCs. advancing the 
cause of an organization, or demonstrating their power 
arid heroism, at your discretion. As with inspiration, 
a character can choose to spend influence to gain 
advantage on a roll relevant to that influence. 

Another way to handle influence is to treat it tike 
renown (see chapter 1), allowing characters to gain 
renown at court and within various key factions. 






Framing Events 


:>u can base an entire adventure on a framing event 
r use such an event to grab the players’ interest. The 
- ~aming Events table presents several ideas, or you can 
-se it to inspire your own framing event. 

Framing Events 

dlOO Event 

01-02 Anniversary of a monarch’s reign 

03-04 Anniversary of an important event 

D5-06 Arena event 

07-08 Arrival of a caravan or ship 

09-10 Arrival of a circus 

11-12 Arrival of an important NPC 

13-14 Arrival of marching modrons 

15-16 Artistic performance 

17-18 Athletic event 

^9-20 Birth of a child 

21-22 Birthday of an important NPC 

23-24 Civic festival 

25-26 Comet appearance 

27-28 Commemoration of a past tragedy 

29-30 Consecration of a new temple 

31-32 Coronation 

33-34 Council meeting 

35-36 Equinox or solstice 

37-38 Execution 

39-40 Fertility festival 

41-42 Full moon 

43-44 Funeral 

45-46 Graduation of cadets or wizards 
47-48 Harvest festival 
49-50 Holy day 

51-52 Investiture of a knight or other noble 
53-54 Lunar eclipse 
55-58 Midsummer festival 
59-60 Midwinter festival 
61-62 Migration of monsters 
63-64 Monarch’s ball 
65-66 New moon 
67-68 New year 
69-70 Pardoning of a prisoner 
71-72 Planar conjunction 
73-74 Planetary alignment 
75-76 Priestly investiture 
77-78 Procession of ghosts 
79-80 Remembrance for soldiers lost in war 
81-82 Royal address or proclamation 
83-84 Royal audience day 
85-86 Signing of a treaty 
87-88 Solar eclipse 
89-91 Tournament 
92-94 Trial 
95-96 Violent uprising 
97-98 Wedding or wedding anniversary 
99-00 Concurrence of two events (roll twice, ignoring 
results of 99 or 100) 



i’. ■ 


Complications 

Sometimes an adventure isn’t as straightforward as it 
might seem. 


Moral Quandaries 


If you want to give the characters a crisis that no amount 
of spellcasting or swordplay can resolve, add a moral 
quandary to the adventure. A moral quandary is a 
problem of conscience for which the adventurers must 


make a single choice—but never a simple one. 


Moral 

Quandaries 



d20 

Quandary 

d20 

Quandary 

1-3 

Ally quandary 

13-16 

Rescue quandary 

4-6 

7-12 

Friend quandary 
Honor quandary 

17-20 

Respect quandary 


CHAPTER 3 I CREATING ADVENTURES 


79 























Twists 


A twist can complicate a story and make it harder for 
the characters to complete their goals. 


Twists 


on the characters, A love interest might demand that 
a character turn away from a dangerous quest. A 
dear friend might plead with the characters to spare 
the villain's life, to prove that they are better than the 
villain. A weak NFC might beg for a chance to win favor 
from the characters by undertaking a dangerous but 
essential mission. 

Honor Quandary. A character is forced to choose 
between victory and a personal oath or code of honor, 

A paladin who has sworn the Oath of Virtue might 
realize that the clearest path to success lies in deceit 
and subterfuge. A loyal cleric might be tempted to 
disobey the orders of his or her faith. If you present 
this quandary, be sure to provide an opportunity for a 
character to atone for violating his or her oath. 

Rescue Quandary * The adventurers must choose 
between catching or hurting the villain and saving 
innocent lives. For example, the adventurers might 
learn that the villain is camped nearby, but they also 
learn that another part of the villain's forces is about 
to march into a village and burn it to the ground. The 
characters must choose between taking out the villain 
or protecting innocent villagers, some of whom might be 
friends or family members. 

Respect Quandary, I wo i important a I lies give 
conflicting directions or advice to the adventurers. 
Perhaps the high priest counsels the characters to 
negotiate peace with militaristic elves in the nearby 
forest, while a veteran warrior urges them to prove their 
strength with a decisive first strike. The adventurers 
can't follow both courses, and whichever ally they 
choose, the other loses respect for them and might no 
longer aid them. 


dlO Twist 

1 The adventurers are racing against other creatures 
with the same or opposite goaf, 

2 The adventurers become responsible for the safety 
of a noncombatant NPC 

3 The adventurers are prohibited from killing the 
villain, but the villain has no compunctions about 
killing them, 

4 The adventurers have a time limit, 

5 The adventurers have received false or extraneous 
information. 

6 Completing an adventure goal fulfills a prophecy or 
prevents the fulfillment of a prophecy. 

7 The adventurers have two different goals, but they 
can complete only one, 

8 Completing the goal secretly helps the villain, 

9 The adventurers must cooperate with a known 
enemy to achieve the goal. 

10 The adventurers are under magical compulsion 
(such as a geos spell) to complete their goal.. 


Ally Quandary* The adventurers have a better chance 
of achieving Lheir goal with the help of two individuals 
whose expertise is all but essential. However, these 
two NPCs hate each other and refuse to work together 
even if the fate of the world hangs in the balance. The 
adventurers must choose the NPC that is most likely to 
help them accomplish their goal. 

Friend Quandary . An NPC that one or more of the 
characters cares about makes an impossible demand 


GiH 


DVI 


1 AFTER 3 


] 


T 














Side Q uests _ 

ru can also add :r “ ^ to your 

ii venture. xaW.r.L - -- “ main story path 

ienned by local: r - 5:it j- jests are peripheral 

“ the characters' primar;. goal* but successfully 
: spitting a side quest might provide a benefit toward 
npleting the primary goal. 

Side Quests 

dS Side Quest 

1 Find a specific item rumored to be in the area, 

2 Retrieve a stolen item in the villain’s possession. 

3 Receive information from an NPC in the area. 

4 Rescue a captive. 

5 Discover the fate of a missing NPC, 

6 Slay a specific monster, 

7 Discover the nature and origin of a strange 
phenomenon in the area, 

8 Secure the aid of a character or creature in the area. 

Creating Encounters 

Encounters are the individual scenes in the larger story 
:■your adventure. 

First and foremost, an encounter should be fun for 
he players. Second, it shouldn’t be burden for you to 
run* Beyond that, a well-crafted encounter usually has 
: straightforward objective as well as some connection 
:> the overarching story of your campaign, building on 
he encounters that precede it while foreshadowing 
ncounters yet to come. 

An encounter has one of three possible outcomes: 
he characters succeed, the characters partly succeed, 
jr the characters fail. The encounter needs to account 
or all three possibilities, and the outcome needs to 
have consequences so that the players feel like their 
successes and failures matter. 

Character Objectives 

When players don't know what they're supposed to do 
in a given encounter, anticipation and excitement can 
quickly turn to boredom and frustration, A transparent 
•objective alleviates the risk of players losing interest. 

For example t if the overall story of your adventure 
involves a quest to deliver a priceless relic to a remote 
monastery, each encounter along the way is an 
opportunity to introduce a smaller objective that moves 
the quest forward. Encounters during the trip might 
see the adventurers accosted by enemies determined 
to steal the relic, or by monsters that are constantly 
threatening the monastery. 

Some players create their own objectives, which is to 
be expected and encouraged, it is, after all. as much the 
players’ campaign as yours. For example, a character 
might try to bribe enemies rather than fight them, 
or chase after a fleeing enemy to sec where it goes. 
Players who ignore objectives will have to deal with 
the consequences, which is another important facet of 
encounter design. 


Sample Objectives 

If,: following obie; rives ran be used as foundations 
f: r encounters. Although these objectives focus on a 
single encounter during an adventure, using the same 
objective in multiple encounters allows you to combine 
those encounters into a larger obstacle or problem the 
adventurers must overcome. 

Make Peace* The characters must convince two 
opposing groups (or their leaders) to end the conflict 
that embroils them. As a complication, the characters 
might have enemies on one or both of the opposing 
sides t or some other group or individual might be 
instigating the conflict to further its own ends* 

Protect an NPC or Object , The characters must act 
as bodyguards or protect some object in their custody. 

As a complication, the NPC under the party’s protection 
might be cursed, diseased, prone to panic attacks, too 
young or too old to fight, or apt to risk the lives of the 
adventurers through dubious decisions. The object the 
adventurers have sworn to protect might be sentient, 
cursed, or difficult to transport. 

Retrieve an Object The adventurers must gain 
possession of a specific object in the area of the 
encounter, preferably before combat finishes. As a 
complication, enemies might desire the object as much 
as the adventurers do f forcing both parties to fight for it* 

Run a Gauntlet The adventurers must pass through 
a dangerous area. This objective is similar to retrieving 
an object insofar as reaching the exit is a higher priority 
than killing opponents in the area. A time limit adds a 
complication, as does a decision point that might lead 
characters astray. Other complications include traps, 
hazards, and monsters. 

Sneak In, The adventurers need to move through the 
encounter area without making their enemies aware 
of their presence. Complications might ensue if they 
are detected. 

Stop a Ritual. The plots of evil cult leaders, 
malevolent warlocks, and powerful fiends often involve 
rituals that must be foiled. Characters engaged in 
stopping a ritual must typically fight their way through 
evil minions before attempting to disrupt the ritual's 
powerful magic. As a complication, the ritual might 
be close to completion when the characters arrive, 
imposing a time limit. Depending on the ritual, its 
completion might have immediate consequences as well. 

Take Out a Single Target The villain is surrounded 
by minions powerful enough to kill the adventurers. 

The characters can flee and hope to confront the villain 
another day, or they can try to fight their way through 
the minions to take out their target. As a complication, 
the minions might be innocent creatures under the 
villain’s control. Killing the villain means breaking that 
control, but the adventurers must endure the minions’ 
attacks until they do. 

Creating a Combat Encounter 

When creating a combat encounter, let your imagination 
run wild and build something your players will enjoy. 
Once you have the details figured out, use this section to 
adjust the difficulty of the encounter. 


CSEAT!NG J 


CHAPTER 3 


Adventures 















Combat Encounter Difficulty 

There are four categories of encounter difficulty. 

Easy. An easy encounter doesn't tax the characters 1 
resources or put them in serious peril. They might lose 
a few hit points, but victory is pretty much guaranteed. 

Medium. A medium encounter usually lias one or 
two scary moments for the players, but the characters 
should emerge victorious with no casualties. One or 
more of them might need to use healing resources. 

Hard. A hard encounter could go badly for the 
adventurers. Weaker characters might get taken out 
of the fight, and there's a slim chance that one or more 
characters might die. 

Deadly . A deadly encounter could be lethal for one or 
more player characters. Survival often requires good 
tactics and quick thinking, and the party risks defeat, 

XP Thresholds by Character Level 


Evaluating Encounter Difficulty 

Use the following method to gauge the difficulty of any 
combat encounter. 

1. Determine XP Thresholds. First, determine the 
experience point (XP) thresholds for each character in 
the party. The XP Thresholds by Character Level table 
below has four XP thresholds for each character level, 
one for each category of encounter difficulty. Use a 
character s level to determine his or her XP thresholds. 
Repeat this process for every character in the party. 

2* Determine the Party f s XP Threshold. For each 
category of encounter difficulty, add up the characters’ 
XP thresholds. This determines the party’s XP 
threshold. You 1 11 end up with four totals, one for each 
category of encounter difficulty* 

For example, if your party includes three 3rd-level 
characters and one 2nd-level character, the party's 
totaled XP thresholds would be as follows: 


Character 

Level 

Easy 

— Encounter Difficulty — 

Medium Hard 

Deadly 

1st 

25 

50 

75 

100 

2nd 

50 

100 

150 

200 

3rd 

75 

150 

225 

400 

4th 

125 

250 

375 

500 






5tfl 

250 

500 

750 

1.100 

6 th 

300 

600 

900 

1,400 

7th 

350 

750 

1,100 

1,700 

8th 

450 

900 

1,400 

2,100 

9th 

550 

1,100 

1,600 

2,400 

10th 

600 

1,200 

1,900 

2,300 

11th 

mo 

1,600 

2.400 

3,600 

12th 

1,000 

2,000 

3,000 

4,500 

13th 

1,100 

2,200 

3,400 

5,100 

14th 

1,250 

2,500 

3,300 

5,700 

15th 

1,400 

2,300 

4,300 

6,400 

16th 

1,600 

3,200 

4,300 

7,200 

17th 

2,000 

3,900 

5,900 

3,300 

18th 

2,100 

4,200 

6,300 

9,500 

19th 

2,400 

4,900 

7,300 

10,900 

20th 

2,300 

5,700 

3,500 

12,700 


Challenge Rating 

When putting together an encounter or adventure, especially 
at lower levels, exercise caution when using monsters whose 
challenge rating is higher than the party's average level. Such 
a creature might deal enough damage with a single action to 
take out adventurers of a lower level. For example, an ogre 
has a challenge rating of 2, but it can kill a lst-level wizard 
with a single blow. 

In addition, some monsters have features that might be 
difficult or impossible for lower-level characters to overcome. 
For example, a rakshasa has a challenge rating of 13 and is 
immune to spells of 6th level and lower. Spellcasters of 12th 
level or lower have no spells higher than 6th level, meaning 
that they won't be able to affect the rakshasa with their 
magic, putting the adventurers at a serious disadvantage. 
Such an encounter would be significantly tougher for the 
party than the monster’s challenge rating might suggest. 


Easy: 275 XP (75 + 75 + 75 + 50) 

Medium: 550 XP (150+ 150+ 150 + 100) 

Hard: 325 XP (225 + 225 + 225 + 150) 

Deadly: 1,400 XP (400 + 400 + 400 + 200) 

Record the totals, because you can use them for every 
encounter in your adventure. 

3 . Total the Monsters 7 XP, Add up the XP for all of 
the monsters in the encounter. Every monster has an XP 
value in its stat block. 

4. Modify Total XP for Multiple Monsters. If the 

encounter includes more than one monster, apply 
a multiplier to the monsters’ total XP. The. more 
monsters there are* the more attack rolls you're making 
against the characters in a given round, and the more 
dangerous the encounter becomes. To correctly gauge 
an encounter s difficulty, multiply the total XP of all 
the monsters in the encounter by the value given in the 
Encounter Multipliers table. 

For example, if an encounter includes four monsters 
worth a total of 500 XP, you would multiply the total XP 
of the monsters by 2. for an adjusted value of 1,000 XP. 
This adjusted value is not what the monsters are worth 
in terms of XP: the adjusted value s only purpose is to 
help you accurately assess the encounter’s difficulty* 

When making this calculation, don’t count any 
monsters whose challenge rating is significantly below 
the average challenge rating of the other monsters in the 
group unless you think the weak monsters significantly 
contribute to the difficulty of the encounter. 

Encounter Multipliers 

Number of Number of 

Monsters Multiplier Monsters Multiplier 


1 


7-10 


x 1 

x 2.5 

2 

x 1.5 

11-14 

x 3 

-6 

x 2 

15 or more 

x 4 


5• Compare XP* Compare the monsters’ adjusted XP 
value to the party’s XP thresholds. The closest threshold 
that is lower than the adjusted XP value of the monsters 
determines the encounters difficulty. 


C 11A PTE R 3 | G RE AI’] N G AD V E > 









r example, an encounter with one bugbear and 
rree hobgoblins has an adjusted XP value of 1.000. 

- ming it a hard encounter for a party of three 3rd4evel 
meters and one 2nd-leveJ character (which has 
-d encounter threshold of 825 XP and a deadly 
- rounter threshold of 1,400 XP)* 

: rty Size 

” preceding guidelines assume that you have a party 
-fisting of three to live adventurers, 
the party contains fewer than three characters, 
a: ply the next highest multiplier on the Encounter 
fit[pliers table. For example* apply a multiplier of 
z when the characters fight a single monster, and a 
ikiplier of 5 for groups of fifteen or more monsters. 

If the party contains six or more characters, use the 
: lowest multiplier on the table. Use a multiplier of 
J 5 for a single monster* 

Multipart Encounters 

me times an encounter features multiple enemies that 
party doesn’t face all at once. For example, 
asters might come at the party in waves. 


For such encounters, treat each discrete part or wave as 
a separate encounter for the purpose of determining its 
difficulty. 

A party can t benefit from a short rest between parts 
of a multipart encounter, so they won't be able to spend 
Hit Dice to regain hit points or recover any abilities that 
require a short rest to regain* As a rule, if the adjusted 
XP value for the monsters in a multipart encounter is 
higher than one-third of the party’s expected XP total 
for the adventuring day (see ‘The Adventuring Day." 
below), the encounter is going to be tougher than ihe 
sum of its parts* 

Building Encounters on a Budget 

You can build an encounter if you know its desired 
difficulty. The party’s XP thresholds give you an XP 
budget that you can spend on monsters to build easy. 






V 


. m.Mr my.-;-— ' 

— rrt "* v ■ ■ • 







































I 



medium, hard, and deadly encounters. Just remember 
that groups of monsters eat up more of that budget than 
their base XP values would indicate (see step 4), 

For example, using the party from step 2. you can 
build a medium encounter by making sure that the 
adjusted XP value of the monsters is at least 550 XP 
(the party's threshold for a medium encounter) and 
no more than 825 XP (the party's threshold for a hard 
encounter), A single monster of challenge rating 3 (such 
as a manticore or owl bear) is worth 700 XP, so that's 
one possibility. If you want a pair of monsters, each 
one will count for 1.5 times its base XP value. A pair of 
dire wolves (worth 200 XP each) have an adjusted XP 
value of 600, making them a medium encounter for the 
party as well. 

To assist with this approach, appendix B presents a 
list of all monsters in the Monster Manual organized by 
challenge rating. 

The Adventuring Day 

Assuming typical adventuring conditions and average 
luck, most adventuring parties can handle about six 
to eight medium or hard encounters in a day. If the 
adventure has more easy encounters, the adventurers 
can get through more. If it has more deadly encounters, 
t h cy c a n handle fcwe r. 

In the same way you figure out the difficulty of an 
encounter, you can use the XP values of monsters and 
other opponents in an adventure as a guideline lor how 
far the party is likely to progress. 

For each character in the party, use the Adventuring 
Day XP table to estimate how much XP that character is 
expected to earn in a day. Add together the values of all 
party members to get a total for the party's adventuring 
day. This provides a rough estimate of the adjusted XP 
value for encounters the party can handle before the 
characters will need to take a long rest. 

Adventuring Day XP 



Adjusted XP per Day 

Adjusted XP per Day 

Level 

per Character 

Level 

per Character 

1st 

300 

11th 

10,500 

2nd 

600 

12th 

11,500 

3rd 

1,200 

13th 

13,500 

4th 

1,700 

14th 

15,000 

5th 

3,500 

15th 

13,000 

6th 

4,000 

16th 

26,000 

7th 

5,000 

17th 

25,000 

Sth 

6,000 

18th 

27,000 

9th 

7,500 

19th 

30,000 

10th 

9,000 

20th 

40,000 


Short Rests 

In general, over the course of a full adventuring day, the 
party will likely need to take two short rests, about one- 
third and two-thirds of the way through the day. 

Modifying Encounter Difficulty 

An encounter can be made easier or harder based on 
the choice of location and the situation. 























rease the difficulty of the encounter by one step 

- m easy to medium, for example) if the characters 

a drawback that their enemies don’t. Reduce the 
; mculty by one step if the characters have a benefit that 
r enemies don’t. Any additional benefit or drawback 
_-r.es the encounter one step in the appropriate 
: lion. If the characters have both a benefit and a 

: . v. back* the two cancel each other out* 

"d [national drawbacks include the following: 

The whole party is surprised, and the enemy isn't. 

- 7 he enemy has cover, and the party doesn't. 

The characters are unable to see the enemy. 

- T he characters are taking damage every rou nd from 

s me environmental effect or magical source* and the 
rnemy isn’t* 

* The characters are hanging from a rope, in the midst 

f scaling a sheer wall or cliff, stuck to the floor, or oth¬ 
erwise in a situation that greatly hinders their mobility 
r makes them sitting ducks. 

Situational benefits are similar to drawbacks except 

■ _ii they benefit the characters instead of the enemy* 

Fun Combat Encounters _ 

T ~ following features can add more fun and suspense 
a combat encounter: 

Terrain features that pose inherent risks to both the 

characters and their enemies, such as a frayed rope 

bridge and pools of green slime 

Terrain features that provide a change of elevation, 

mch as pits, stacks of empty crates, ledges, 

and balconies 

* features that either inspire or force c h a racters and 
:heir enemies to move around, such as chandeliers* 
kegs of gunpowder or oil, and whirling blade traps 

- Enemies in hard-to-reach locations or defensive 
positions, so that characters who normally attack at 
range are forced to move around the battlefield 
Different types of monsters working together 

Random Encounters 

- characters explore a wilderness area or dungeon 
mplex, they are bound to encounter the unexpected, 

Random encounters are a way to deliver the unexpected* 
They are usually presented in the form of a table* When 
random encounter occurs, you roll a die and consult 
he table to determine what the party encounters, 

5ome players and DMs view random encounters in an 
dventure as time-wasters, yet well-designed random 
encounters can serve a variety of useful purposes: 

* Create urgency* Adventurers don’t tend to dawdle 
if ihe threat of random encounters is hanging over 
their heads* Wanting to avoid wandering monsters 
creates a strong incentive to look for a safe place to 
rest. (Rolling dice behind the DM screen can often 
accomplish this even without an actual encounter.) 

■ Establish atmosphere. The appearance of 
thematically linked creatures as random encounters 
helps to create a consistent tone and atmosphere 
for an adventure. For example, an encounter table 


filled with bats, wraiths, giant spiders, and zombies 
creates a sense of horror* and tells the adventurers to 
prepare for battle with even more powerful creatures 
of the night. 

* Drain character resources. Random encounters can 
drain the party’s hit points and spell slots, leaving the 
adventurers feeling underpowered and vulnerable. 
This creates tension, as players are forced to make 
decisions based on the fact that their characters aren't 
at full strength* 

* Provide assistance. Some random encounters can 
benefit the characters instead of hindering or harming 
them. Helpful creatures or NPCs might provide the 
adventurers with useful information or assistance 
when they need it most. 

* Add interest. Random encounters can reveal details 
about your world. They can foreshadow danger or 
provide hints that will help the adventurers prepare 
for the encounters to come. 

* Reinforce campaign themes. Random encounters 
can remind the players of the major themes of the 
campaign* For example, if your campaign features an 
ongoing war between two nations, you might design 
random encounter tables to reinforce the ever-present 
nature of the conflict* In friendly territory, your tables 
might include bedraggled troops returning from bat¬ 
tle, refugees fleeing invading forces, heavily guarded 
caravans full of weapons, and lone messengers on 
horseback riding for the front lines* While charac¬ 
ters are in hostile territory, the tables might include 
battlefields littered with the recently slain, armies of 
evil humanoids on the march, and improvised gib¬ 
bets holding the bodies of deserters who tried to flee 
the conflict. 

Random encounters should never be tiresome to you 
or your players. You don’t want the players to feel as if 
they aren't making progress because another random 
encounter brings their progress to a halt whenever they 
try to move forward. Likewise, you don’t want to spend 
time distracted by random encounters that add nothing 
to the adventure narrative or that interfere with the 
overall pace you’re trying to set. 

Not every DM likes to use random encounters. You 
might find that they distract from your game or arc 
otherwise causing more trouble than you want. If 
random encounters don't work for you. don't use them. 

Triggering Random Encounters 

Because you w ant random encounters to build on the 
intended narrative of a game session, not compete with 
it, you should choose the placement of those encounters 
carefully. Think about a random encounter under any of 
the following circumstances: 

* The players are getting off track and slowing 
down the game. 

* The characters stop for a short or long rest. 

- The characters are undertaking a long, 

uneventful journey. 

* T he c ha rac ter s d r a w atte n t ion to t h ems el ve s w r he n 
they should be keeping a low profile. 


C H A PTEE 3 I CRE \TI N G ADV F.NTU R F.S 













Checking for Random Encounters 

You decide when a random encounter happens, or you 
roll Consider checking for a random encounter once 
every hour, once every 4 to 8 hours, or once during the 
day and once during a long rest—whatever makes the 
most sense based on how active the area is* 

If you roll, do so with a d20, If the result is 18 or 
higher, a random encounter occurs. You then roll on an 
appropriate random encounter table to determine what 
the adventurers meet, rerolling if the die result doesn't 
make sense given the dreuinstances. 

Random encounter tables might be provided as part 
of the adventure you're running, or you can use the 
information in this chapter to build your own. Creating 
your own tables is the best way to reinforce the themes 
and flavor of your home campaign. 

Not every run-in with another creature counts as 
a random encounter. Encounter tables don't usually 
include rabbits hopping through the undergrowth, 
harmless rats scurrying through dungeon halls, or 
average citizens walking through the streets of a city. 
Random encounter tables present obstacles and events 
that advance the plot, foreshadow important elements or 
themes of the adventure, and provide fun distractions. 


Creating Random Encounter Tables 

Creating your own random encounter tables is 
straightforward. Determine what sort of encounters 
might occur in a given dungeon area, figure out the 
likelihood of a particular encounter occurring, then 
arrange the results. An '‘encounter" in this case could be 
a single monster or NFC, a group of monsters or N PCs. 
a random event (such as an earth tremor or a parade), 
or a random discovery (such as a charred corpse or a 
message scrawled on a wall). 

Assemble Your Encounters* Once you've established 
a location through which the adventurers are likely to 
pass, be it a wilderness area or dungeon complex, make 
a list of creatures that might be found wandering there. 
If you're not sure which creatures to include, appendix B 
has lists of monsters organized by terrain type. 

For a sylvan woodland, you might create a table 
that includes centaurs, faerie dragons, pixies, sprites, 
dryads* satyrs, blink dogs, elks* owlhears, treants, giant 
owls, and a unicorn. If elves inhabit the forest, the table 
might also include elf druids and elf scouts. Perhaps 
gnolis are threatening the woods, so adding gnolls and 
hyenas to the table would be a fun surprise for players. 
Another fun surprise would be a wandering predator* 
such as a displacer beast that likes to hunt blink dogs. 
The table could also use a few random encounters of 
a less monstrous nature, such as a grove of burned 
trees (the handiwork of the gnolls)* an ivy* cove red 
elven statue, and a plant with glowing berries that turn 
creatures invisible when ingested. 

When choosing monsters for a random encounter 
table, try to imagine why the monsters would be 
encountered outside their lairs. What is each monster 
up to? Is it on patrol? Hunting for food? Searching for 
something? Also consider whether a creature is moving 
stealthily as it travels through the area. 

As with planned encounters, random encounters 
arc more interesting when they happen in memorable 
locations. Outdoors the adventurers might be crossing 
a forest clearing when they encounter a unicorn or 
be pushing through a dense section of forest wdien 
they come across a nest of spiders. Crossing a desert, 
characters might discover an oasis haunted by wights or 
a rocky outcropping on which a blue dragon perches. 

Probabilities* A random encounter table can be 
created in a number of ways* ranging from simple (roll 
ld6 for one of six possible encounters) to complicated 
(roll percentile dice, modify for time of day, and cross* 
index the modified number with the dungeon level). The 
sample encounter table presented here uses a range of 
2 to 20 (nineteen entries total), generated using 1 d 12 
+ ld8. The probability curve ensures that encounters 
appearing in the middle of the tabic arc more likely to 
occur than encounters placed at the beginning or end 
of the table, A roll of 2 or 20 is rare (about a 1 percent 
chance of either), while each of the rolls from 9 to 13 
occurs a little over 8 percent of the time* 

The Sylvan Forest Encounters table is an example 
of a random encounter table that implements the ideas 
mentioned above. Creature names in bold refer to slat 
blocks that appear in the Monster Manual. 












*• 

t 


Random Encounter Challenge 

Random encounters need not be level-appropriate 
challenges for the adventurers, but it's considered bad 
form to slaughter a party using a random encounter, 
since most players consider this ending to be an 
unsatisfying one. 

Not all random encounters with monsters need 
to be resolved through combat, A Ist-level party of 
adventurers could have a random encounter with a 
young dragon circling above a forest canopy in search 
of a quick meal, but the characters should have the 
option to hide or bargain for their lives if the dragon 
spots them. Similarly, the party might encounter a stone 
giant roaming the hills, but it might have no intention 
of harming anyone. In fact, it might shy away from the 
party because of its reclusive nature, he giant might 
attack only characters who annoy it. 

That said, a random encounter table usually includes 
hostile (though not necessarily evil) monsters that 
are meant to be fought. The following monsters are 
considered appropriate combat challenges: 

* A single monster with a challenge rating equal to or 
lower than the party's level. 

* A group of monsters whose adjusted XP value consti¬ 
tutes an easy, medium, or hard challenge for the party, 
as determined using the encounter-building guide¬ 
lines earlier in this chapter. 




d!2 + d8 
12 

13 

14 

15 


16 

17 

IS 


19 


20 


Encounter 
1 owEbear 

ld4 elks (75%) or 1 giant elk (25%) 
ld4 blink dogs 

A magical plant with 2d4 glowing berries. A 
creature that ingests a berry becomes invisible 
for 1 hour, or until it attacks or casts a spell. 
Once picked, a berry loses its magic after 
12 hours. Berries regrow at midnight, but if 
all its berries are picked, the plant becomes 
nonmagical and grows no more berries. 

An elven tune carried on a gentle breeze 
ld4 orange (75%) or blue (25%) faerie dragons 
1 druid (elf). The druid is initially indifferent 
toward the party but becomes friendly if the 
characters agree to rid the forest of its gnoll 
infestation. 

1 treant. The treant is friendly if the party 
includes one or more elves or is accompanied by 
a visible fey creature. The treant is hostile if the 
characters are carrying open flames. Otherwise, 
it is indifferent and doesn’t announce its 
presence as the characters pass by, 

1 unicorn 




Sylvan Forest Encounters 

dl2 + d8 Encounter 

2 1 displacer beast 

3 1 gnoll pack lord and 2d4 gnolls 

4 ld4 gnolls and 2d4 hyenas 

5 A grove of burned trees. Characters searching 
the area and succeeding on a DC 10 Wisdom 
(Survival) check find gnoll tracks. Following the 
tracks for ld4 hours leads to an encounter with 
gnolls, or the discovery of dead gnolls with elven 
arrows sticking out of their flea-ridden corpses. 

6 1 giant owl 

7 An ivy-covered statue of an elven deity or hero. 

S 1 dryad (50%) or ld4 satyrs (50%) 

9 ld4 centaurs 

10 2d.4 scouts (elves). One scout carries a horn 
and can use its action to blow it. If the horn is 
blown within the forest, roll on this table again. 

If the result indicates a monster encounter, the 
indicated monster or monsters arrive in ld4 
minutes. New arrivals other than gnolls, hyenas, 
owlbears, and displacer beasts are friendly 
toward the scouts. 

11 2d4 pixies (50%) or2d4 sprites (50%) 



C: RI AT 1X 1 G A D V E N T U R ES 


CHAPTER 3 

































































Chapter 4: Creating Nonplayer Characters 


NON P LAY Rft CH A R ACT ERISA N Y C H A R ACT E R 

controlled by the Dungeon Master. NPCs can 
be enemies or allies, regular folk or named 
monsters. They include the local innkeeper, 
the old wizard who lives in the tower on the 
outskirts of town, the death knight out to 
destroy the kingdom, and the dragon counting gold in its 
cavernous lair. 

This chapter shows you how to flesh out nonplayer 
characters for your game. For guidelines on generating 
monster-like stat blocks for an NFC, see chapter 9, 
"Dungeon Master's Workshop.” 

Designing NPCs 

Nothing brings your adventures and campaigns to life 
better than a cast of we IF developed NPCs. That said, 
PCs in your game rarely need as much complexity 
ts a well-crafted character in a novel or movie. Most 
NPCs are bit players in the campaign, whereas the 
□venturers are the stars. 

Quick NPCs 

\n NPC doesn’t need combat statistics unless it poses 
threat. Moreover, most NPCs need only one or two 
Qualities to make them memorable. For example, 

■, ;mr players will have no trouble remembering the 
no-nonsense blacksmith with the tattoo of the black rose 
n his right shoulder or the badly dressed bard with the 
broken nose. 

Detailed^ NPCs __ 

F:>r NPCs who play larger roles in your adventures, 
allow more time to flesh out their histories and 
ersonalities. As you'll see, ten sentences can sum up 
the main elements of a memorable NPC, one sentence 
for each of the following: 

- Occupation and history 

* Appearance 

* Abilities 

* Talent 

* Mannerism 

* Interactions with others 

* Useful knowledge 
I ■ Ideal 

- Bond 

* Flaw or secret 

Although the material here focuses on humanoid 
NPCs. you can adjust details to create monstrous 
NPCs as well. 

Occupation and History 

In one sentence, describe the NPC s occupation 
-nd provide a brief historical note that hints at the 
haracteFs past. For example, the NPC might have 
served in an army, been imprisoned for a crime, or 
adventured years ago. 


Appearance 

In one sentence, describe the NPC s most distinctive 
physical features. You can roll on the NPC Appearance 
table or choose a feature that suits the character. 

NPC Appearance 

d20 Feature 

1 Distinctive jewelry: earrings, necklace, circlet, 
bracelets 

2 Piercings 

3 Flamboyant or outlan d i sh doth es 

4 Formal, dean clothes 

5 Ragged, dirty clothes 

6 Pronounced scar 


7 

Missing teeth 

S 

Missing fingers 

9 

Unusual eye color (or two different colors) 

ID 

Tattoos 

11 

Birthmark 

12 

Unusual skin color 

13 

Bald 

14 

Braided beard or hair 

15 

Unusual hair color 

16 

Nervous eye twitch 

17 

Distinctive nose 

18 

Distinctive posture (crooked or rigid) 

19 

Exceptionally beautiful 

20 

Exceptionally ugly 

Abilities 

You don't need to roil ability scores for the NPC 


note abilities that are above or below average—great 
strength or monumental stupidity, for example—and use 
them to inform the NPCs qualities. 

NPC Abilities 

d6 Nigh Ability 

1 Strength—powerful, brawny, strong as an ok 

2 Dexterity—-lithe, agile, graceful 

3 Constitution—hardy, hale, healthy 

4 Intelligence—studious, learned. Inquisitive 

5 Wisdom—perceptive, spiritual, insightful 

6 Charisma—persuasive, forceful, born leader 

d6 Low Ability 

1 Strength—feeble, scrawny 

2 Dexterity—clumsy, fumbling 

3 Constitution—sickly, pale 

4 Intelligence—dim-witted, slow 

5 Wisdom—oblivious, absentminded 

6 Charisma—dull, boring 



C H A PT E R 4 I C RI AT IN G N O N P LAY E R C H A R A CT E RS 














1 ALENT 

In one sentence, describe something that your NPC can 
do that is special, if anything. Roll on the MFC Talents 
table or use it to spur your own ideas, 

NPC Talents 

d2G Talent 

1 Plays a musical instrument 

2 Speaks several languages fluently 

3 Unbelievably lucky 

4 Perfect memory 

5 Great with animals 

6 Great with children 

7 Great at solving puzzles 

8 Great at one game 

9 Great at impersonations 

10 Draws beautifully 

11 Paints beautifully 

12 Sings beautifully 

13 Drinks everyone under the table 

14 Expert carpenter 

15 Expert cook 

16 Expert dart thrower and rock skipper 

17 Expert juggler 

IS Skilled actor and master of disguise 

19 Skilled dancer 

20 Knows thieves' cant 

Mannerism 

In one sentence, describe one mannerism that will 
help players remember the NPC, Roll on the NPC 
Mannerisms and Quirks table or use it to generate your 
own ideas. 

NPC Mannerisms 

d2G Mannerism 

1 Prone to singing, whistling, or humming quietly 

2 Speaks in rhyme or some other peculiar way 

3 Particularly low or high voice 

4 Slurs words, lisps, or stutters 

5 Enunciates overly dearly 

6 Speaks loudly 

7 Whispers 

8 Uses flowery speech or long words 

9 Frequently uses the wrong word 

10 Uses colorful oaths and exclamations 

11 Makes constant jokes or puns 

12 Prone to predictions of doom 

13 Fidgets 

14 Squints 

15 Stares into the distance 

16 Chews something 

17 Paces 

13 Taps fingers 

19 Bites fingernails 

20 Twirl s h ai r o r tugs bea rd 


Interactions with Others 

In one sentence, describe how the NPC interacts 
with others, using the NPC Interaction Traits table if 
necessary. An NFC's behavior can change depending 
on who he or she is interacting with. For example, an 
innkeeper might be friendly toward guests and rude to 
her staff. 


NPC Interaction Traits 


d 12 Trait dl2 

1 Argumentative 7 

2 Arrogant S 

3 Blustering 9 

4 Rude 10 

5 Curious II 

6 Friendly 12 


Trait 

Honest 

Hot tempered 

irritable 

Ponderous 

Quiet 

Suspicious 


Useful Knowledge 

In a sentence, describe one bit of knowledge the NPC 
possesses that might be of use to the player characters. 
The N PC might know something as banal as the 
best inn in town or as important as a clue needed to 
solve a murder. 

Ideal 

In a sentence, describe one ideal that the NPC holds 
dear and which governs his or her greater actions. 
Player characters who uncover an NPC s ideal can 
use what they've learned to influence the NPC in a 
social interaction (as discussed in chapter 8, “Running 
the Game 1 ). 

Ideals can connect to alignment, as shown on the 
NPC Ideals table. The alignment connections here are 
suggestions only; an evil character could have beauty as 

an ideal, for instance. 

+; 

NPC Ideals 


d6 

Good Ideal 

Evil Ideal 

2 

■> 

Beauty 

Charity 

D o m i n at i o n 

Greed 

3 

4 

Greater good 

Life 

Might 

Pain 




5 

Respect 

Retribution 

6 

Self-sacrifice 

Slaughter 

d6 

Lawful Ideal 

Chaotic Ideal 

I 

Community 

Change 

2 

Fairness 

Creativity 

3 

Honor 

Freedom 

4 

Logic 

independence 

5 

Responsibility 

No limits 

6 

Tradition 

Whimsy 

d6 

Neutral Ideal 

Other Ideals 

1 

Balance 

Aspiration 

2 

Knowledge 

Discovery 




3 

4 

Live ana iei live 

Moderation 

kjJGry 

Nation 

5 

Neutrality 

Redemption 

6 

People 

Self-knowledge 


so 


CHAFTER 4 | CRE ATINC NONPLAVER CH ARACTEJR3 





Flaw or Secret 

In one sentence, describe the NPCs flaw—some 
element of the characters personality or history that 
could potentially undermine the character—or a secret 
that the NPC is trying to hide. 

The NPC Flaws and Secrets table provides several 
ideas. The backgrounds in the Player's Handbook 
can be used to create more detailed flaws. Player 
characters who uncover an NPCs flaw or secret can use 
what they’ve learned to influence the NPC in a social 
interaction (as discussed in chapter 8). 

NPC Flaws and Secrets 

dl2 Flaw or Secret 

1 Forbidden love or susceptibility to romance 

2 Enjoys decadent pleasures 

3 Arrogance 

4 Envies another creature's possessions or station 

5 Overpowering greed 

6 Prone to rage 

7 Has a powerful enemy 

8 Specific phobia 

9 Shameful or scandalous history 

10 Secret crime or misdeed 

11 Possession of forbidden lore 

12 Foolhardy bravery 

Monsters as NPCs 

Named monsters that play a significant role in an 
adventure deserve the same attention you would give to 
a humanoid NPC, with mannerisms as well as ideals, 
bonds, flaws, and secrets. If a beholder mastermind 
is behind the criminal activities in a city, don’t rely 
solely on the entry in the Monster Manual to describe 
the creature’s appearance and personality. Take the 


Bond 1 

In a sentence, summarize the people, places, or things 
that are especially important to the NPC. The NPC 
Bonds table offers suggestions in broad categories. 

The character backgrounds in the Player's Handbook 
explore bonds in more detail, and player characters who 
uncover an NPC’s bond can use what they’ve learned to 
influence the NPC in a social interaction (as discussed 
in chapter 8). 

NPC Bonds 


dlO 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 


Bond 

Dedicated to fulfilling a personal life goal 
Protective of close family members 
Protective of colleagues or compatriots 
Loyal to a benefactor, patron, or employer 
Captivated by a romantic interest 
Drawn to a special place 
Protective of a sentimental keepsake 
Protective of a valuable possession 
Out for revenge 

Roll twice, ignoring results of 10 




















time to give it a bit of background, a distinctive quirk of 
appearance, and especially an ideal, a bond, and a flaw* 

As an example, consider the Xanathar. a beholder 
that runs extensive criminal operations in the city of 
Waterdeep. The Xanathar s spherical body is covered in 
leathery flesh with a texture similar to cobblestones. Its 
eyestalks are jointed like the legs of an insect, and some 
of the stalks have magic rings on them. The Xanathar's 
speech is slow and deliberate, and it prefers to turn its 
central eye away from creatures it speaks to* Like all 
beholders, it sees other creatures as inferiors, though 
it understands the usefulness of its humanoid minions. 
The Xanathar uses the sewers beneath Waterdeep to 
access virtually any location within or under the city. 

The Xanathar s ideal is greed. It craves powerful 
magic items and surrounds itself with gold, platinum, 
and precious gems, its bond is to its lair—an elaborate 
cavern complex carved out between the twisting sewers 
of Waterdeep, which it inherited from its predecessors 
and cherishes above all else. Its flaw is a weakness for 
exotic pleasures: finely prepared foods, scented oils, and 
rare spices and herbs. 

Establishing this information allows you to play the 
Xanathar as more than an ordinary beholder. The 
complexities of the creature’s characterization create 
more memorable interaction and interesting story 
possibilities, 

NPC Sta tistics ___ 

When you give an NPC game statistics, you have three 
main options: giving the NPC only the few statistics it 
needs, give the NPC a monster stat block, or give the 
N PC a class and levels. The latter two options require a 
bit of explanation. 

Using a Monster Stat Block 

Appendix B of the Monster Manual contains statistics 

for many generic NPCs that you can customize as you 



Using Classes and Levels 

You can create an NPC just as you would a player 
character, using the rules in the Players Handbook . 

You can even use a character sheet to keep track of the 
NFC's vital information. 

Class Options - In addition to the class options in the 
Player's Handbook, two additional class options are 
available for evil player characters and NPCs; the Dea- i 
domain for clerics and the oathbreaker for paladins. 
Both options are detailed at the end of this chapter. 

Equipment. Most NPCs don t need an exhaustive lis: 
of equipment. An enemy meant to be faced in combat 
requires weapons and armor, plus any treasure the 
NFC carries (including magic items that might be use : 
against the adventurers). 

Challenge Rating. An NPC built for combat needs a 
challenge rating. Use the rules in chapter 9 to determine 
the NFC's challenge rating, just as you would for a 
monster you designed. 

NPC Party Members 

NPCs might join the adventuring party because they 
want a share of the loot and are willing to accept 
an equal share of the risk t or they might follow the 
adventurers because of a bond of loyalty, gratitude, 
or love. Such NPCs are controlled by you, or you 
can transfer control to the players. Even if a player 
controls an NPC, it’s up to you to make sure the NPC L 
portrayed as a character in his or her own right, not jus* 
as a servant that the players can manipulate for their 
own benefit. 

Any NPC that accompanies the adventurers acts as 
a party member and earns a full share of experience 
points. When determining the difficulty of a combat 
encounter (see chapter 3), make sure to include all NPC 
party members. 

Low-Level F ollowers _ 

Your campaign might allow player characters to take on 
lower-level NPCs as followers. For example, a paladin 
might have a 1 st-level paladin as a squire, a wizard 
might accept a 2nd-IeveI wizard as an apprentice, a 
cleric might choose (or be assigned) a 3rd-Ievel cleric as 
an acolyte, and a bard might take on a 4th-level bard as 
an understudy. 

One advantage of allowing lower-level characters to 
join the party is that players have backup characters if 
their main characters take time off. retire, or die. One 
disadvantage is that you and your players have more 
party members to account for. 

Since lower-level NPC party members receive equal 
party shares of XP, they will gain levels more quickly 
tha n the adventurers (the benefit of studying under such 
experienced masters), and might eventually catch up to 
them. It also means the adventurers’ advancement is 
slowed somewhat, as they must share their XP with an 
NPC shouldering only part of the adventuring burden. 

Powerful monsters that are an appropriate challenge 
for higher-level characters can deal enough damage to 
instantly kill or incapacitate a low-level follower. The 
adventurers should expect to spend effort and resources 


92 


CHAPTER 4 i CREATING 


I R CH ARACTERS 











protecting lower-level NFC party members and to 
provide healing when this protection fails. 

Ad venture r NPCs _ 

If yon don't have enough players to form a full party, 
iu can use NPCs to fill out the ranks. These NPCs 
should be the same level as the lowest-level adventurer 
in the party and built (either by you or your players) 
ising the character creation and advancement rules in 
the Player’s Handbook. Its easiest on you if you let the 
players create and run these supporting characters. 

Encourage players to role play supporting characters 
as true to the NPCs' personality traits, ideals, bonds, 

..lid flaws as possible, so that they don’t come across 
as automatons. If you don't feel that an NPC is being 
: <rtrayed well, you can take control of the NPC, give 
:: to another player, or simply have the NPC leave 
the party, 

NPC supporting characters are easier to play if you 
unit their class options. Good candidates for supporting 
rharacters include a cleric with the Life domain, a 
nghter with the Champion archetype, a rogue with the 
Thief archetype, and a wizard specializing in Evocation. 

O ptional Ru le: L oya lty _ 

T oyalty is an optional rule you can use to determine 
h >w far an NPC party member will go to protect or 
assist the other members of the party (even those he or 
she doesn't particularly like). An NPC party member 
who is abused or ignored is likely to abandon or betray 
the party, whereas an NPC who owes a life debt to the 
Characters or shares their goals might fight to the death 
r them. Loyalty can be role played or represented by 
his rule. 

Loyalty Score 

n N PC s loyalty is measured on a numerical scale from 
Oto 20, The NPC s maximum loyalty score is equal 
he highest Charisma score among all adventurers 
- the party, and its starting loyalty score is half that 
number. If the highest Charisma score changes— 
erhaps a character dies or leaves the group—adjust the 
\ PC’s loyalty score accordingly. 

Tracking Loyalty 

Keep track of an NPCs loyalty score in secret so that 
e players won’t know for sure whether an NPC party 
member is loyal or disloyal (even if the NPC is currently 
a. her a player's control), 

An NPC’s loyalty score increases by ld4 if other party 
embers help the NPC achieve a goal tied to its bond. 

1 kewise, an NPCs loyalty score increases by ld4 if 
NPC is treated particularly well (for example, given 
= magic weapon as a gift) or rescued by another party 
mber. An NPCs loyalty score can never be raised 
hove its maximum. 

When other party members act in a manner that 
runs counter to the NFC's alignment or bond t reduce 
NPCs loyalty score by ld4. Reduce the NPCs 
yalty score by 2d4 if the character is abused, misled, 
r endangered by other party members for purely 
selfish reasons. 


An NPC whose loyalty score drops to 0 is no longer 
loyal to the party and might part ways with them. A 
loyalty score can never drop below 0. 

An NPC with a loyalty score of 10 or higher risks life 
and limb to help fellow party members. If the NPC s 
loyalty score is between 1 and 10, its loyalty is tenuous. 
An NPC whose loyalty drops to 0 no longer acts in the 
party’s best interests. The disloyal NPC either leaves the 
party (attacking characters who attempt to intervene) or 
works in secret to bring about the party's downfall. 

Contacts 

Contacts are NPCs with close ties to one or more of 
the player characters. They don't go on adventures. 


but they can provide information, rumors, supplies, or 
professional advice, either for free or at a cost. Some 
of the backgrounds in the Player’s Handbook suggest 



93 

























contacts for beginning adventurers, and characters are 
likely to secure more helpful contacts over the course of 
their adventuring careers. 

A name and a few choice details are all you need 
for casual contacts, but take the time to flesh out a 
recurring contact, especially one who might become an 
ally or enemy at some point. At the very least, give some 
thought to a contact's goals and how those goals are 
likely to come into play. 

Patrons 

A patron is a contact who employs the adventurers, 
providing help or rewards as well as quests and 
adventure hooks. Most of the time, a patron has a vested 
interest in the adventurers' success and doesn’t need to 
be persuaded to help them. 

A patron might be a retired adventurer who seeks 
younger heroes to deal with rising threats, or a mayor 
who knows that the town guard can t handle a dragon 
demanding tribute, A sheriff becomes a patron by 
offering a bounty for kobold raiders terrorizing the local 
countryside, as does a noble who wants an abandoned 
estate cleared of monsters. 

Hirelings 

Adventurers can pay NPCs to provide services 
in a variety of circumstances. Information on 
hirelings appears in chapter 5, “Equipment." of the 
Player s Ha n dhook. 

Hireling NPCs rarely become important in an 
adventure, and most require little development. When 
adventurers hire a coach to carry them across town 
or need a letter delivered, the driver or messenger 
is a hireling, and the adventurers might never even 
converse with that NPC or learn his or her name, A 
ship captain carrying the adventurers across the sea is 
also a hireling, but such a character has the potential 
to turn into an ally, a patron, or even an enemy as the 
adventure unfolds. 

When the adventurers hire an NPC for long-term 
work, add the cost of that NPCs services to the 
characters' lifestyle expenses. See the “Additional 
Expenses’' section of chapter 6. “Between Adventures/' 
for more information. 

Extras 

Extras are the characters and creatures in the 
background that the main characters rarely, if ever, 
interact with. 

Extras might be elevated to more important roles by 
virtue of adventurers singling them out. I'or instance, a 
player might be hooked by a passing reference you make 
to a street urchin and try to strike up a conversation 
with the youngster. Suddenly, an extra on whom you 
placed no importance becomes a centra! figure in an 
improvised roleplaying scene. 

Whenever extras arc present, be prepared to come up 
with names and mannerisms on the fly. In a pinch, you 
can plunder the race-specific character names found in 
chapter 2, “Races." of the Players Handbook . 


Villains 

By their actions, villains provide job security for heroes 
Chapter 3 helps you determine suitable villains for your 
adventures, while this section helps you flesh out their 
evil schemes, methods, and weaknesses. Let the tables 
that follow inspire you. 

Villain’s Scheme 

dS Objective and Scheme 

1 Immortality (d4) 



1 

Acquire a legendary item to prolong life 


2 

Ascend to godhood 


3 

Become undead or obtain a younger body 


4 

Steal a planar creature's essence 

2 

Influ 

'ence (d4) 


1 

Seize a position of power or title 


2 

Win a contest or tournament 


3 

Win favor with a powerful individual 


4 

Place a pawn in a position of power 

3 

Mtfg/c (d6) 


I 

Obtain an ancient artifact 


2 

Buiid a construct or magical device 


3 

Carry out a deity's wishes 


4 

Offer sacrifices to a deity 


S 

Contact a lost deity or power 


6 

Open a gate to another world 

4 

Mayhem (d6) 


1 

Fulfill an apocalyptic prophecy 


2 

Enact the vengeful will of a god or patron 


3 

Spread a vile contagion 


4 

Overthrow a government 


5 

Trigger a natural disaster 


6 

Utterly destroy a bloodline or dan 

5 

Passion (d4) 


1 

Prolong the life of a loved one 


2 

Prove worthy of another person’s love 


3 

Raise or restore a dead loved one 


4 

Destroy rivals for another person's affection 

6 

Power (d4) 


1 

Conquer a region or incite a rebellion 


2 

Seize control of an army 


3 

Become the power behind the throne 


4 

Cain the favor of a ruler 

7 

Revenge (d4) 


1 

Avenge a past humiliation or insult 


2 

Avenge a past imprisonment or injury 


3 

Avenge the death of a loved one 


4 

Retrieve stolen property and punish the thief 

S 

Wealth {d4) 


1 

Control natural resources or trade 


2 

Marry into wealth 


3 

Plunder ancient ruins 


4 

Steal land, goods, or money 


CHAPTER 4 ! CREATING MON PLAYER CHARACTERS 












W _la i n J s Methods 

d20 Methods 



1 

Agricultural devastation (d4) 



1 

Blight 

B 


2 

Crop failure 



3 

Drought 



4 

Famine 


2 

Assault or beatings 


3 

Bounty hunting or assassination 


4 

Captivity or coercion (dlO) 

■ 


1 

Bribery 



2 

Enticement 

1 


3 

Eviction 



4 

Imprisonment 

t 


5 

Kidnapping 



6 

Legal intimidation 

B 


7 

Press gangs 



S 

Shackling 

E 


9 

Slavery 



10 

Threats or harassment 


5 

Confidence scams (d6) 



1 

Breach of contract 



2 

Cheating 



3 

Fast talking 



4 

Fine print 



5 

Fraud or swindling 



6 

Quackery or tricks 


6 

Defamation (d4) 



1 

Framing 



2 

Gossiping or slander 



3 

Humiliation 



4 

Libel or insults 


7 

Dueling 


8 

Execution (dS) 



1 

Beheading 



2 

Burning at the stake 



3 

Burying alive 



4 

Crucifixion 



5 

Drawing and quartering 



6 

Hanging 



7 

Impalement 



3 

Sacrifice (living) 


9 

Impersonation or disguise 


10 

Lyi 

ng or perjury 


11 

Magical mayhem (dS) 



1 

Hauntings 



2 

Illusions 



3 

Infernal bargains 



4 

Mind control 



5 

Petrification 



6 

Raising or animating the dead 



7 

Summoning monsters 



S 

Weather control 


i 

d20 Methods 

12 Murder (dlO) 



1 

Assassination 


2 

Cannibalism 


3 

Dismemberment 


4 

Drowning 


5 

Electrocution 


6 

Euthanasia (involuntary) 


7 

Disease 


8 

Poisoning 


9 

Stabbing 


10 

Strangulation or suffocation 

13 

Neglect 

14 

Politics (dGj 


1 

Betrayal or treason 


2 

Conspiracy 


3 

Espionage or spying 


4 

Genocide 


5 

Oppression 


6 

Raising taxes 

15 

Religion (d4) 


1 

Curses 


2 

Desecration 


3 

False gods 


4 

Heresy or cults 

16 

Stalking 

17 

Theft or Property Crime (dlO) 


1 

Arson 


2 

Blackmail or extortion 


3 

Burglary 


4 

Counterfeiting 


5 

Highway robbery 


6 

Looting 


7 

Mugging 


S 

Poaching 


9 

Seizing property 


10 

Smuggling 

18 

Torture (dG) 


1 

Acid 


2 

Blinding 


3 

Branding 


4 

Racking 


5 

Thumbscrews 


6 

Whipping 

19 

Vice (d4) 


1 

Adultery 


2 

Drugs or alcohol 


3 

Gambling 


4 

Seduction 

20 

Warfare (d6) 


1 

Ambush 


2 

Invasion 


3 

Massacre 


4 Mercenaries 

5 Rebellion 

6 Terrorism 



* C H A FT EE 1 ; CR EAT I N G NONE LAY E R C H A R ACTE RS 


* 














Villain's Weakness 



The Death domain is concerned with the forces that 
cause death, as well as the negative energy that gives 
rise to undead creatures. Deities such as Chemosh. 
Myrkiil. and Wee Jas are patrons of necromancers, 
death knights, Itches, mummy lords, and vampires. 
Gods of the Death domain also embody murder (Amibis 
Bhaah and Pyremius), pain (luz or Loviatar), disease 
or poison (Incabulos, Talona, or Morgion), and the 
underworld (Hades and Hel). 

Death Domain Spells 

Cleric Level Spells 

1st fahe life, ray of $ickness 

3rd blindness/deafness, my of enfeeblement 

5th animate dead, vampiric touch 

7th blight T death ward 

9th antilife shell , ctoudkilt 

Bonus Proficiency 

When the cleric chooses this domain at 1st level, he or 
she gains proficiency with martial weapons. 

Reaper 

At 1st level, the cleric learns one necromancy cantrip 
of his or her choice from any spell list. W hen the cleric 
casts a necromancy cantrip that normally targets only 
one creature, the spell can instead target two creatures 
within range and within 5 feet of each other. 


Villain s Secret Weakness 

Finding and exploiting a villain s weakness can be 
very gratifying for players, although a smart villain 
tries to conceal its weakness. A Hch. for example, has 
a phylactery—a magical receptacle for its soul—that it 
keeps well hidden. Only by destroying the phylactery 
can the characters ensure the lich's destruction. 


You can use the rules in the Players Handbook to create 
NPCs with classes and levels, the same way you create 
player characters* The class options below let you create 
two specific villainous archetypes: the evil high priest 
and the evil knight or antipaladin. 

The Death Domain is an additional domain choice for 
evil clerics, and the Oathbreaker offers an alternative 
path for paladins who fall from grace. A player can 
choose one of these options with the your approval. 

Cleric: Death Domain 


Villainous 
Class Options 




Weakness 

A hidden object holds the villain's soul. 

The villain's power is broken if the death of its true 
love is avenged. 

The villain is weakened in the presence of a 
particular artifact 

A special weapon deals extra damage when used 
against the villain. 

The villain is destroyed if it speaks its true name. 
An ancient prophecy or riddle reveals how the 
villain can be overthrown. 

The villain falls when an ancient enemy forgives its 
past actions. 

The villain loses its power if a mystic bargain it 
struck long ago is completed. 



CHAPTER i 1 CREATING NON FLAYER CHARACTERS 







' hannel Divinity: Touch of Death 

" fling at 2nd level, the cleric can use Channel Divinity 
-: destroy another creature's life force by touch. 

When the cleric hits a creature with a melee attack. 

- rleric can use Channel Divinity to deal extra 
e rone damage to the target. The damage equals 5 + 
rn :. e his or her cleric level. 

~ escapable Destruction 

- rting at 6th level, the cleric s ability to channel 
negative energy becomes more potent. Necrotic damage 
i ik by the characters cleric spells and Channel 

I mity options ignores resistance to necrotic damage. 

Divine Strike 

Sth level, the cleric gains the ability to infuse his or 
her weapon strikes with necrotic energy. Once on each 
_ : the cleric's turns when he or she hits a creature with a 
i: -oon attack, the cleric can cause the attack to deal an 
e rra id8 necrotic damage to the target. When the cleric 
r aches 14th level, the extra damage increases to 2d8. 

Improved Reaper 

" rting at 17th level, when the cleric casts a 
r : romancy spell of 1st through Sth level that targets 
crjy one creature, the spell can instead target two 

- mires within range and within 5 feet of each other. If 
spell consumes its material components, the cleric 

— jst provide them for each target. 

Paladin: Oathbreaker 

jAn Oathbreaker is a paladin who breaks his or her 

- red oaths to pursue some dark ambition or serve an 

1 power. Whatever light burned in the paladins heart 
as been extinguished. Only darkness remains* 

A paladin must be evil and at least 3rd level to 
:ome an Oathbreaker. The paladin replaces the 
: lures specific to his or her Sacred Oath with 
tihbreaker features. 

Oathbreaker Spells 

Oathbreaker paladin loses previously gained oath 
;; ells and instead gains the following Oathbreaker 
a I Is at the paladin levels listed. 


Oathbreaker Spells 


Paladin Level 

Spells 

3rd 

hellish rebuke , inflict wounds 

Sth 

crown of madness , darkness 

9th 

animate dead t bestow curse 

13th 

blight , confusion 

17th 

contagion , dominate person 


Channel Divinity 

An Oathbreaker paladin of 3rd level or higher gains the 
1 lowing two Channel Divinity options. 

Control Undead * As an action, the paladin targets one 
jndead creature he or she can see within 30 feet of him 
- her. The target must make a Wisdom saving throw. 

Jn a failed save, the target must obey the paladin's 
■mmands for the next 24 hours, or until the paladin 


uses this Channel Divinity option again. An undead 
whose challenge rating is equal to or greater than the 
paladin's level is immune to this effect. 

Dreadful Aspect. As an action, the paladin channels 
the darkest emotions and focuses them into a burst of 
magical menace. Each creature of the paladin s choice 
within 30 feet of the paladin must make a Wisdom 
saving throw if it can see the paladin. On a failed save, 
the target is frightened of the paladin for 1 minute. If a 
creature frightened by this effect ends its turn more than 
30 feet away from the paladin, it can attempt another 
Wisdom saving throw to end the effect on it. 

Aura of Hate 

Starting aL 7th level, the paladin, as well any fiends and 
undead within 10 feet of the paladin* gains a bonus 
to melee weapon damage rolls equal to the paladin’s 
Charisma modifier (minimum of +1), A creature can 
benefit from this feature from only one paladin at a time. 

At 18th level, the range of this aura increases to 30 feet. 

Supernatural Resistance 

At 15th level, the paladin gains resistance to 
bludgeoning, piercings and slashing damage from 
nonmagical weapons. 

Dread Lord 

At 2Qth-level, the paladin can, as an action, surround 
himself or herself with an aura of gloom that lasts for 1 
minute. The aura reduces any bright light in a 30-foot 
radius around the paladin to dim light* Whenever an 
enemy that is frightened by the paladin starts its turn 
in the aura, it takes 4dl0 psychic damage. Additionally, 
the paladin and creatures he or she chooses in the aura 
are draped in deeper shadow. Creatures that rely on 
sight have disadvantage on attack rolls against creatures 
draped in this shadow. 

While the aura lasts, the paladin can use a bonus 
action on his or her turn to cause the shadows in the 
aura to attack one creature. The paladin makes a 
melee spell attack against the target. If the attack hits, 
the target takes necrotic damage equal to 3d 10 + the 
paladin's Charisma modifier* 

After activating the aura, the paladin can’t do so again 
until he or she finishes a long rest. 


Oathbreaker Atonement 

If you allow a player to choose the Oathbreaker option, 
you can later allow the paladin to atone and become a true 
paladin once more. 

The paladin who wishes to atone must first shed his or 
her evil alignment and demonstrate this alignment change 
through words and deeds. Having done so, the paladin 
loses all Oathbreaker features and must choose a deity 
and a sacred oath. (With your permission, the player can 
select a different deity or sacred oath than the character 
had previously.) However, the paladin doesn’t gain the 
class features specific to that sacred oath until he or 
she completes some kind of dangerous quest or trial, as 
determined by the DM. 


A paladin who breaks his or her sacred oath a second time 
can become an oathbreaker once more, but can’t atone. 



CSE ATI N T G NO N PLAYEjR C El ARAC VE ELS 























































































Chapter 5: Adventure Environments 



ANY D&D ADVENTURES REVOLVE 
around a dungeon setting. Dungeons 
in D&D include great halls and tombs, 
subterranean monster lairs, labyrinths 
riddled with death traps* natural 
caverns extending for miles beneath the 
surface of the world* and ruined castles. 

Not every adventure takes place in a dungeon* A 
wilderness trek across the Desert of Desolation or a 
I arrowing journey into the jungles of the Isle of Dread 
ran be an exciting adventure in its own right. In the 
great outdoors* dragons w heel across the sky in search 
: prey, tribes of hobgoblins pour forth from their grim 
fortresses to wage war against their neighbors, ogres 
plunder farmsteads for food, and monstrous spiders 
drop from the web-shrouded canopies of trees. 

Within a dungeon, adventurers are constrained by 
w ails and doors around them* but in the wilderness, 
adventurers can travel in almost any direction they 
r lease* i herein lies the key difference between dungeon 
_ rsd wilderness: it's much easier to predict where the 
iventuring party might go in (he dungeon because the 
i prions are limited less so in the wilderness. 

Villages, towns* and cities are cradles of civilization 
in a dangerous world, but they too offer opportunities 
adventure* Encounters with monsters might seem 
ten likely within a city's walls* but urban settings have 
- heir own villains and perils. Evil* after all, takes many 
rms, and urban settings aren't always the safe havens 
hey seem to be. 

This chapter provides an overview of these three 
.iron merits plus a few unusual environments, taking 
u through the process of creating an adventure 
location, with plenty of random tables to inspire you* 


Dungeon Location 


Dungeons 



5 me dungeons are old strongholds abandoned by the 
folk who built them. Others are natural caves or weird 
birs carved out by foul monsters. They attract evil cults, 
aster tribes, and reclusive creatures. Dungeons are 
also home to ancient treasures: coins, gems, magic 
kerns* and other valuables hidden away in the darkness, 
*; hen guarded by traps or jealously kept by the monsters 
that have collected them* 

Building a Dungeon_ 

V hen you set out to create a dungeon, think about its 
distinctive qualities* For example, a dungeon that serves 
ks a hobgoblin stronghold has a different quality from 
an ancient temple inhabited by yuaiuti, This section 
lays out a process for creating a dungeon and bringing 
:r to life. 

Dungeon Location 

u can use the Dungeon Location table to determine 
Tr.e locale of your dungeon. You can roll on the table or 
i jose an entry that inspires you. 


dlOO 

Location 

’<4- 

o 

1 

o 

A building In a city 

05-0'S 

Catacombs or sewers beneath a city 

09-12 

Beneath a farmhouse 

13-16 

Beneath a graveyard 

17-22 

Beneath a ruined castle 

23-26 

Beneath a ruined city 

27-30 

Beneath a temple 

31-34 

In a chasm 

35-38 

In a cliff face 

39-42 

In a desert 

43-46 

In a forest 

47-50 

In a glacier 

51-54 

In a gorge 

55-58 

In a jungle 

59-62 

In a mountain pass 

63-66 

In a swamp 

67-70 

Beneath or on top of a mesa 

71-74 

In sea caves 

75-78 

In several connected mesas 

79-82 

On a mountain peak 

83-86 

On a promontory 

S7-90 

On an isiand 

91-95 

Underwater 

96-00 

Roll on the Exotic Location table 


Exotic Location 

d20 Location 

1 Among the branches of a tree 

2 Around a geyser 

3 Behind a waterfall 

4 Buried in an avalanche 

5 Buried in a sandstorm 

6 Buried in volcanic ash 

7 Castle or structure sunken in a swamp 

S Castle or structure at the bottom of a sinkhole 

9 Floating on the sea 

10 In a meteorite 

11 On a demiplane or in a pocket dimension 

12 In an area devastated by a magical catastrophe 

13 On a cloud 

14 In the Feywild 

15 In the Shadow fell 

16 On an island in an underground sea 

17 In a volcano 

IS On the back of a Gargantuan living creature 

19 Sealed inside a magical dome of force 

20 I n s i de a Mordenkainen*s magnificent mansion 

Dungeon Creator 

A dungeon reflects its creators* A lost temple of the 
yuan-ti, choked by overgrown jungle plants* might 
feature ramps instead of stairs. Caverns carved by a 



t: fi APTE R 5 | A DV E NT U RE i : NVIRON M E NTS 






beholder’s disintegration eye ray have walls that are 
unnaturally smooth, and the beholders lair might 
include vertical shafts connecting different levels. 
Amphibious monsters such as kuo-toa and aboleths use 
water to protect the innermost reaches of their lairs 
from air-breathing intruders. 

Details bring a dungeon setting’s personality to life. 
Great bearded faces might be carved on the doors of a 
dwarven stronghold and might be defaced by the gnolls 
who live there now. Spiderweb decorations, torture 
chambers, and slave pens might be common features 
in a vault built by drow, telling something about that 
location and its occupants. 

The Dungeon Creator table includes creatures that 
typically build dungeons. You can choose a creator 
from the table or roll randomly, or choose some other 
dungeon builder appropriate for your campaign. 


Dungeon Creator 


d20 

Creator 

1 

Beholder 

2-4 

Cult or religious group (roll on the Cults and 
Religious Groups table to determine specifics) 

5-8 

Dwarves 

9 

Elves (including drow) 

10 

Giants 

11 

Hobgoblins 

12-15 

Humans (roll on the NPC Alignment and NPC 
Class tables to determine specifics) 

16 

Kuo-toa 

17 

Lich 

18 

Mind flayers 

19 

Yuan-ti 

20 

No creator (natural caverns) 

Cults and Relicious Croups 

d20 

Cult or Religious Group 

1 

Demon-worshiping cult 

2 

Devil-worshiping cult 

3-4 

Elemental Air cult 

5-6 

Elemental Earth cult 

7-8 

Elemental Fire cult 

9-10 

Elemental Water cult 

11-15 

Worshipers of an evil deity 

16-17 

Worshipers of a good deity 

18-20 

Worshipers of a neutral deity 


NPC Alignment 


d20 

Alignment 

d20 

Alignment 

1-2 

Lawful good 

10-11 

Neutral 

3-4 

Neutral good 

12 

Chaotic neutral 

5-6 

Chaotic good 

13-15 

Lawful evil 

7-9 

Lawful neutral 

16-18 

Neutral evil 



19-20 

Chaotic evil 
























HP C Class 


d2G 

Class 

d2G 

Class 

1 

Barbarian 

9 

Paladin 

2 

Bard 

10 

Ranger 

3-4 

Cleric 

11—14 

Rogue 

5 

Druid 

IS 

Sorcerer 

6-7 

Fighter 

16 

Warlock 

S 

Monk 

17-20 

Wizard 

Dungeon Purpose 

Except in the case of a natural cavern, a dungeon 
is crafted and inhabited fora specific purpose that 
influences its design and features* You can choose a 
crpose from the Dungeon Purpose table, roll one at 
random, or use your own ideas. 

Dungeon Purpose 



d20 

Purpose 

d20 

Purpose 

1 

2-5 

Death trap 

Lair 

11-14 

15-17 

Stronghold 
Temple or shrine 

6 

Maze 

18-19 

Tomb 

7-9 

Mine 

20 

Treasure vault 

10 

Planar gate 




Death Trap, This dungeon is built to eliminate any 
reature that dares to enter it. A death trap might guard 
the treasure of an insane wizard, or it might he designed 
lure adventurers to their demise for some nefarious 
jrpose, such as to feed souls to a lich s phylactery. 

Lair * A lair is a place where monsters live. Typical 
; rs include ruins and eaves. 

Maze, A maze is intended to deceive or confuse 
those who enter it. Some mazes are elaborate obstacles 
that protect treasure* while others are gauntlets for 
prisoners banished there to be hunted and devoured by 
the monsters within* 

Mine * An abandoned mine can quickly become 
^tested with monsters, while miners who delve too 
deep can break through into the Underdark. 

Planar Gate , Dungeons built around planar portals 
re often transformed by the planar energy seeping out 
:hrough those portals. 

Stronghold , A stronghold dungeon provides a secure 
ise of operations for villains and monsters* It is 
usually ruled by a powerful individual such as a wizard, 
ampire t or dragon, and it is larger and more complex 
than a simple lair. 

Temple or Shrine, This dungeon is consecrated to 
deity or other planar entity. The entity's worshipers 
ntrol the dungeon and conduct their rites there. 

Tomb. Tombs are magnets for treasure hunters* as 
.veil as monsters that hunger for the bones of the dead. 
Treasure Vault, Built to protect powerful magic items 
and great material wealth, treasure vault dungeons are 
- r avilv guarded by monsters and traps. 

History 

most cases, the original architects of a dungeon are 
on g gone, and the question of what happened to them 
an help shape the dungeon s current state. 


The Dungeon History table notes key events that 
can transform a site from its original purpose into a 
dungeon for adventurers to explore. Particularly old 
dungeons can have a history that consists of multiple 
events, each of which transformed the site in some way. 


Dungeon History 


d2Q 

Key Event 

1-3 

Abandoned by creators 

4 

Abandoned due to plague 

5-8 

Conquered by invaders 

9-10 

Creators destroyed by attacking raiders 

11 

Creators destroyed by discovery made withirr the 
site 

12 

Creators destroyed by internal conflict 

13 

Creators destroyed by magical catastrophe 

14-15 

Creators destroyed by natural disaster 

16 

Location cursed by the gods and shunned 

17-18 

Original creator still in control 

19 

Overrun by planar creatures 

20 

Site of a great miracle 


Dungeon Inhabitants 

After a dungeon's creators depart, anyone or anything 
might move in* Intelligent monsters* mindless dungeon 
scavengers, predators and prey alike can be drawn 
to dungeons. 

The monsters in a dungeon are more than a 
collection of random creatures that happen to live 
near one another. Fungi, vermin, scavengers, and 
predators can coexist in a complex ecology, alongside 
intelligent creatures who share living space through 
elaborate combinations of domination, negotiation, and 
bloodshed. 

Characters might be able to sneak into a dungeon, 
ally with one faction* or play factions against each other 
lo reduce the threat of the more powerful monsters. 

For example, in a dungeon inhabited by mind flayers 
and their goblinoid thralls, the adventurers might try 
to incite the goblins* hobgoblins, and bugbears to revolt 
against their illithid masters. 

Dungeon Factions 

A dungeon is sometimes dominated by a single group 
of intelligent humanoids, whether a tribe of ores 
that have taken over a cavern complex or a gang of 
trolls inhabiting an aboveground ruin. Other times, 
particularly in larger dungeons, multiple groups of 
creatures share space and compete for resources* 

For example* ores that dwell in the mines of a ruined 
dwarf citadel might skirmish constantly against the 
hobgoblins that hold the citadel s upper tiers* Mind 
flayers that have established a colony in the lowest 
levels of the mines could manipulate and dominate key 
hobgoblins in an attempt to wipe out the ores. And all 
the while* a hidden cell of drow scouts watches and 
plots to slay the mind flayers, then enslave whatever 
creatures are left 

It’s easy to think of a dungeon as a collection of 
encounters, with the adventurers kicking down door 


CHAPTER 5 


A DVENT URE E N VI RONMENTS 









after door and killing whatever lies beyond. But the 
ebb and flow of power between groups in a dungeon 
provides plenty of opportunities for more subtle 
interaction. Dungeon denizens are used to striking 
unlikely alliances, and adventurers are a wild card that 
canny monsters seek to exploit. 

intelligent creatures in a dungeon have goals, whether 
as simple as short-term survival or as ambitious 
as claiming the entire dungeon as the first step in 
founding an empire. Such creatures might approach 
adventurers with an offer of alliance, hoping to prevent 
the characters from laying v^aste to their lair and to 
secure aid against their enemies. Bring the NFC leaders 
of such groups to life as described in chapter 4, fleshing 
out their personalities, goals, and ideals. Then use 
those elements to shape a response to the arrival of 
adventurers in their territory. 

Dungeon Ecology 

An inhabited dungeon has its own ecosystem. The 
creatures that live there need to eat, drink, breathe, and 
sleep, just as creatures in the wilderness do. Predators 
need to be able to seek prey, and intelligent creatures 
search for lairs offering the best combination of air, 
food, water, and security. Keep these factors in mind 
when designing a dungeon you want the players to 
believe in. If a dungeon doesn't have some internal logic 
to it, adventurers will find it difficult to make reasonable 
decisions w ithin that environment. 

For example, characters who find a pool of fresh water 
in a dungeon might make the logical assumption that 
many of the creatures inhabiting the dungeon come to 
that spot to drink. The adventurers might set an ambush 
at the pool. Likewise, locked doors—or even doors that 
require hands to open—can restrict the movement of 
some creatures. If all the doors in a dungeon are closed, 
the players might winder how the carrion crawlers or 
stirges they repeatedly encounter manage to survive. 

Encounter Difficulty 

You might be inclined to increase the encounter 
difficulty as the adventurers descend deeper into the 
dungeon, as a way to keep the dungeon challenging as 
the characters gain levels or to ratchet up the tension. 
However, this approach can turn the dungeon into a 
grind. A better approach is to include encounters of 
varying difficulty throughout. The contrast between easy 
and hard encounters, as well as simple and complex 
encounters, encourages characters to vary their tactics 
and keeps the encounters from seeming too similar. 

Mapping a Dungeon 

Every dungeon needs a map showing its layout. 

The dungeon’s location, creator, purpose, history, 
anti inhabitants should give you a starting point for 
designing your dungeon map. If you need further 
inspiration, you can find maps that have been made 
freely available for use on the Internet, or even use a 
map of a real-world location. Alternatively, you can 
borrow^ a map from a published adventure or randomly 
generate a dungeon complex using the tables presented 
in appendix A, 

CH APTEfc 5 ! ADVENT U RE ENVI RON MENTS 


A dungeon can range in size from a few chambers 
in a ruined temple to a huge complex of rooms and 
passages extending hundreds of feet in all directions. 
The adventurers’ goal often lies as far from the dungeon 
entrance as possible, forcing characters to delve 
deeper underground or push farther into the heart of 
the complex, 

A dungeon is most easily mapped on graph paper, 
w ith each square on the paper representing an area of 
10 feet by 10 feet. (If you play with miniatures on a grid, 
you might prefer a scale wdiere each square represents 5 
feet, or you can subdivide your 10-foot grid into a SToot 
grid w hen you draw your maps for combat.) When you 
draw your map, keep the following points in mind: 

* Asymmetrical rooms and map layouts make a 
dungeon less predictable. 

* Think in three dimensions. Stairs, ramps, platforms, 
ledges, balconies, pits, and other changes of elevation 
make a dungeon more interesting and make combat 
encounters in those areas more challenging, 

- Give the dungeon some wear and tear. Unless you 
want to stress that the dungeons builders were 
extraordinarily skillful, collapsed passages can be 
commonplace, cutting off formerly connected sections 
of the dungeon from each other. Past earthquakes 
might have opened chasms within a dungeon, splitting 
rooms and corridors to make interesting obstacles. 

* incorporate natural features into even a constructed 
dungeon. An underground stream might run through 
the middle of a dwarven stronghold, causing variation 
in the shapes and sizes of rooms and necessitating 
features such as bridges and drains. 

* Add multiple entrances and exits. Nothing gives the 
players a stronger sense of making real decisions than 
having multiple ways to enter a dungeon. 

■ Add secret doors and secret rooms to reward players 
who take the time to search for them. 

If you need help creating a dungeon map from scratch, 
see appendix A. 

Dungeon Features 

The atmosphere and physical characteristics of 
dungeons vary as widely as their origins. An old crypt 
might have stone walls and loose w ooden doors, an odor 
of decay, and no light other than what adventurers bring 
with them. A volcanic lair might have smooth stone 
walls hollowed out by past eruptions, doors of magically 
reinforced brass, a smell of sulfur, and light provided by 
jets of flame in every hall and room. 

Walls 

Some dungeons have walls of masonry. Others have 
walls of solid rock, hewn with tools to give them a 
rough, chiseled look, or worn smooth by the passage of 
water or lava. An aboveground dungeon might be made 
of wood or composite materials. 

Walls are sometimes adorned with murals, frescoes, 
bas-reliefs, and lighting fixtures such as sconces or 
torch brackets. A few even have secret doors built 
into them. 





CAIALOneb 


CN£ flQD.AJRe t^LHLTi IL- 






Doors 

?JS s d ?to Sit' f “' wi,hi " plal ” >rete 

gargoyles or Jeering f ^ esto °ned with carvings of 
rereai clues as to Sa^'S’^Sd”’ SiS " S ' ha ' 

-£!3Si5St sr° ften bec °™ s “ 

a successful Strung* check. Chapter7 -rJ™' "T” 

guidelines for setting * e l£ 

- - *»■ 

» successful Strength cS sma/hT T ^ 

Piece, by dealing enough da,page ,oT„ r T “ 

spell or similar magic Chapter 5 n 3 knock 

* ic- '-napter 8 provides guidelines 



5ample Dungeon Map 



S 






other objects" ^ ^ Statistic * t0 doors a 

can be opened normally from the barred ° r 

an action to lift the bar from its braced X USing 

Secret Doors 

surrounds it. t hf 

marks on the floor betrav the secret ° r SCU 

Detecting a Seem Door. Use thl rh * presence - 
passive Wisdom (Percentiord e characters 

whether anyone in the party LtSsecmd "" 

without actively searching for it Tha ' door 

find a secret door hv a t 8 Cila meters can also 

"here ,h. door is 


CHAPTER 5 


A D VI. KTURL EN Vi RQ N M E N TS 






























































































































































































































































































(Perception) check. To set an appropriate DC for the 
check, see chapter 8. 

Opening a Secret Boon Once a secret door is 
detected, a successful Intelligence (Investigation) check 
might be required to determine how to open it if the 
opening mechanism isn’t obvious. Set the DC according 
to the difficulty guidelines in chapter 8. 

If adventurers can’t determine how to open a secret 
door t breaking it down is always an option. Treat it 
as a locked door made of the same material as the 
surrounding wall, and use the guidelines in chapter 8 to 
determine appropriate DCs or statistics. 

Concealed Doors 

A concealed door is a normal door that is hidden from 
view, A secret door is ca refully crafted to blend into its 
surrounding surface, whereas a concealed door is most 
often hidden by mundane means. It might be covered 
by a tapestry, covered with plaster, or (in the case of 
a concealed trapdoor) hidden under a rug. Normally, 
no ability check is required to find a concealed door, A 
character need only look in the right place or take the 
right steps to reveal the door. However, you can use 
the characters' passive Wisdom (Perception) scores to 


determine whether any of them notices tracks or signs 
of a tapestry or rug having been recently disturbed. 

Portcullises 

A portcullis is a set of vertical bars made of wood or 
iron, reinforced with one or more horizontal bands. It 
blocks a passage or archway until it is raised up into 
the ceiling by a winch and chain. The main benefit of a 
portcullis is that it blocks a passage while still allowing 
guards to watch the area beyond and make ranged 
attacks or cast spells through it. 

Winching a portcullis up or down requires an action. 

If a character can’t reach the winch (usually because it is 
on the other side of the portcullis), lifting the portcullis 
or bending its bars far enough apart to pass through 
them requires a successful Strength check. The DC 
of the check depends on the size and weight of the 
portcullis or the thickness of its bars. To determine an 
appropriate DC. see chapter 8. 

Darkness and Light 

Darkness is the default condition inside an underground 
complex or in the interior of aboveground ruins, but an 
inhabited dungeon might have light sources. 


r 


f.: H A FT E R 5 I A D V E N T UKI E N V 1 i R O N M F NTS 

















in subterranean settlements, even races that have 
: rkvision use fire for warmth, cooking, and defense. 

But many creatures have no need of warmth or light. 

- iventurers must bring their own sources of light into 
iusty tombs where only undead stand guard, abandoned 
ruins teeming with predatory monsters and oozes, and 
natural caverns where sightless creatures hunt. 

The light of a torch or lantern helps a character 
see over a short distance, but other creatures can 
see that light source from far away. Bright light in an 
. ironment of total darkness can be visible for miles. 
Though a clear line of sight over such a distance is rare 
inderground. Even so, adventurers using light sources 
:n a dungeon often attract monsters, just as dungeon 
features that shed light (from phosphorescent fungi 
t i he glow of magical portals) can draw adventurers' 
attention. 

Air Quality 

Subterranean tunnels and aboveground ruins are often 
enclosed spaces with little airflow. Though it’s rare for 
a dungeon to be sealed so tightly that adventurers have 
:n uble breathing, the atmosphere is often stifling and 
: pressive. What’s more, odors linger in a dungeon and 
n be magnified by the stillness of the atmosphere. 

Sounds 

- dungeon’s enclosed geography helps channel sound. 
The groaning creak of an opening door can echo down 

end reds of feet of passageway. Louder noises such 
as the clanging hammers of a forge or the din of battle 
an reverberate through an entire dungeon. Many 
re at u res that live underground use such sounds as a 
way of locating prey, or go on alert at any sound of an 
.vi venturing party’s intrusion. 

Dungeon Hazards _ 

The hazards described here are but a few examples of 
:he environmental dangers found underground and in 
ther dark places. Dungeon hazards are functionally 
similar to traps, which are described at the end of 
:his chapter. 

Detecting a Hazard. No ability check is required 
:o spot a hazard unless it is hidden, A hazard that 
resembles something benign, such as a patch of slime 
r mold, can be correctly identified with a successful 
Intelligence (Nature) check. Use the guidelines in 
hap ter 8 to set an appropriate DC for any check made 
to spot or recognize a hazard. 

Hazard Severity* To determine a hazard’s deadliness 
relative to the characters, think of the hazard as a trap 
and compare the damage it deals with the party’s level 
using the Damage Severity by Level table later in the 
chapter (the table also appears in chapter 8). 

Brown Mold 

Brown mold feeds on warmth, drawing heat from 
anything around it, A patch of brown mold typically 
covers a 10-foot square, and the temperature within 30 
feet of it is always frigid. 


When a creature moves to within 5 feet of the mold 
for the first time on a turn or starts its turn there, it 
must make a DC 12 Constitution saving throw, taking 
22 (4dl0) cold damage on a failed save, or half as much 
damage on a successful one. 

Brown mold is immune to fire, and any source of fire 
brought within 5 feet of a patch causes it to instantly 
expand outward in the direction of the fire, covering a 
10-foot-square area (with the source of the fire at the 
center of that area), A patch of brown mold exposed to 
an effect that deals cold damage is instantly destroyed. 

Green Slime 

This acidic slime devours flesh, organic material, and 
metal on contact. Bright green, wet, and sticky, it clings 
to walls, floors, and ceilings in patches. 

A patch of green slime covers a 5-foot square, has 
blind sight out to a range of 30 feet, and drops from 
walls and ceilings when it detects movement below it. 
Beyond that, it has no ability to move. A creature aware 
of the slime's presence can avoid being struck by it with 
a successful DC 10 Dexterity saving throw. Otherwise, 
the slime can't be avoided as it drops, 

A creature that comes into contact with green slime 
takes 5 (Id 10) acid damage. The creature takes the 
damage again at the start of each of its turns until the 
slime is scraped off or destroyed. Against wood or 
metal, green slime deals 11 (2d 10) acid damage each 
round, and any non magical wood or metal weapon or 
tool used to scrape off the slime is effectively destroyed. 

Sunlight, any effect that cures disease, and any effect 
that deals cold, fire, or radiant damage destroys a patch 
of green slime. 

Webs 

Giant spiders weave thick, sticky webs across passages 
and at the bottom of pits to snare prey. These web-filled 
areas are difficult terrain. Moreover, a creature entering 
a webbed area for the first time on a turn or starting its 
turn there must succeed on a DC 12 Dexterity saving 
throw or become restrained by the webs, A restrained 
creature can use its action to try to escape, doing 
so with a successful DC 12 Strength (Athletics) or 
Dexterity (Acrobatics) check. 

Each 10-foot cube of giant webs has AC 10, 15 
hit points, vulnerability to fire, and immunity to 
bludgeoning, piercing, and psychic damage. 

Yellow Mold 

Yellow mold growrs in dark places, and one patch covers 
a 5-foot square. If touched, the mold ejects a cloud of 
spores that fills a 10-foot cube originating from the 
mold. Any creature in the area must succeed on a DC 
15 Constitution saving throw or take 11 (2d 10) poison 
damage and become poisoned for 1 minute. While 
poisoned in this way, the creature takes 5 (Id 10) poison 
damage at the start of each of its turns. The creature 
can repeat the saving throw at the end of each of its 
turns, ending the effect on itself on a successful save. 

Sunlight or any amount of fire damage instantly 
destroys one patch of yellow mold. 


CHAPTER 5 


ADVE NTU RE EKVI RON M E NTS 






Wilderness 

Between the dungeons and settlements of your 
campaign world He meadows, forests, deserts, mountain 
ranges, oceans, and other tracts of wilderness waiting 
to he traversed. Bringing wilderness areas to life can he 
a fun part of your game, both for you and your players. 
The following two approaches work particularly well, 

Travel-Montage Approach 

Sometimes the destination is more important than the 
journey. If the purpose of a wilderness trek is to get 
the characters to where the real adventure happens, 
gloss over the wilderness trek without checking for 
encounters along the way. Just as movies use travel 
montages to convey long and arduous journeys in a 
matter of seconds, you can use a few sentences of 
descriptive text to paint a picture of a wilderness trek in 
your players’ minds before moving on. 

Describe the journey as vividly as you like, but keep 
the forward momentum. "You walk for several miles 
and encounter nothing of interest’' is okay, but far less 
evocative and memorable than, "A light rain dampens 
the rolling plains as you travel north. Around midday, 
you break for lunch under a lonely tree. There, the rogue 
finds a small rock that looks like a grinning face, but 
otherwise you encounter nothing out of the ordinary." 
The trick is to focus on a few details that reinforce the 
desired mood rather than describe everything down to 
the last blade of grass. 

Call attention to unusual terrain features: a waterfall, 
a rocky outcropping that offers a breathtaking view over 
the tops of the surrounding trees, an area where the 
forest has burned or been cut down, and so on. Also 
describe notable smells and sounds, such as the roar of 
a faraway monster, the stench of burned wood, or the 
sweet aroma of flowers in an elven forest. 

In addition to evocative language, visual aids can help 
set the scene for the characters’ travels. Image searches 
on the Internet can lead you to breathtaking landscapes 
(in fact, that’s a good phrase to search for) both real and 
fantastical. As striking as real-world scenery can be. 
wilderness travel can be used to remind the players that 
their characters are in a fantasy world. Once in a while, 
spice up your descriptions with some truly magical 
element. A forest might be home to tiny dragonets 
instead of birds, or its trees might be festooned with 
giant webs or have eerie, green-glowing sap. Use these 
elements sparingly; landscapes that are too alien can 
break your players’ sense of immersion in the world. A 
single fantastic element within an otherwise realistic 
and memorable landscape is enough. 

Use the landscape to set the mood and tone for your 
adventure. In one forest, close-set trees shroud all 
light and seem to watch the adventurers as they pass. 

In another, sunlight streams through the leaves above 
and flower-laden vines twine up every trunk. Signs 
of corruption—rotting wood, foul-smelling water, and 
rocks covered with slimy brown moss—can be a signal 
that the adventurers are drawing close to the site of evil 
power that is their destination or can provide clues to 
the nature of the threats to be found there. 


Specific wilderness locations might have their own 
special features. For example, the Spirit Forest and 
the Spiderhaunt Woods might feature different kinds 
of trees, different kinds of flora and fauna, different 
weather, and different random encounter tables. 

Finally, a wilderness trek can be enhanced by calling 
attention to the weather. “You spend the next three 
days crossing the swamp" sounds less harrowing than. 
"You spend the next three days trudging through knee- 
deep mud--the first two days and nights in the pouring 
rain, and then another day under the beating sun, with 
swarms of hungry insects feasting on your blood." 

Hour-by-Hour Approach_I 

Sometimes the journey deserves as much time and 
attention as the destination. If wilderness travel features 
prominently in your adventure and isn’t something you 
want to gloss over, you will need more than a descriptive 
overview to bring a long and harrowing journey to life; 
you’ll need to know f the party’s marching order and have 
encounters at the ready. 

Let your players determine the party’s marching 
order (see the Players Handbook for more information). 
Characters in the front rank are likely to be the first to 
notice landmarks and terrain features, as well as the 
ones responsible for navigating. Characters in the back 
rank are usually responsible for making sure that the 
party isn’t being followed. Encourage characters in the 
middle ranks to do something other than blindly trudge 
along behind the front-rank characters. The Player's 
Handbook suggests activities such as mapmaking and 
foraging for food. 

Wilderness journeys typically feature a combination of 
planned encounters (encounters that you prepare ahead 
of time) and random encounters (encounters determined 
by rolling on a table). A planned encounter might need a 
map of the location wdiere the encounter is set to occur, 
such as a ruin, a bridge spanning a gorge, or some other 
memorable location. Random encounters tend to be 
less location-specific. The fewer planned encounters 
you have, the more you’ll need to rely on random 
encounters to keep the journey interesting. See chapter 
3 for guidelines on creating your own random encounter 
tables and when to check for random encounters, 

A good way to keep wilderness encounters from 
becoming stale is to make sure they don’t all start and 
end the same way. In other words, if the wilderness 
is your stage and your adventure is the play or movie, 
think of each wilderness encounter as its own scene, 
and try to stage each one in a slightly different way to 
keep your players’ interest. If one encounter comes 
at the adventurers from the front, the next one might 
come at them from above or behind. If an encounter 
features stealthy monsters, a character tending to the 
party’s pack animals might get the first indication that 
monsters are near when a pony whickers nervously. I f 
an encounter features loud monsters, the party might 
have the option to hide or set an ambush. One group of 
monsters might attack the party on sight, and another 
might allow safe passage for food. 

Reward characters for searching while they travel by 
providing things for them to find. Broken statues, tracks. 


CHAPI ER 5 | AD VENTl RE EN V E RON ME NTS 









--z 




1 , 


£1 














abandoned campsites, and other finds can add flavor to 
vour world, foreshadow future encounters or events, or 
provide hooks for further adventures. 

A wilderness journey might take multiple sessions to 
play out. That said, if the wilderness journey includes 
long periods with no encounters, use the travel-montage 
approach to bridge gaps between encounters. 

Mapping a Wilderness 

In contrast to a dungeon, an outdoor setting presents 
seemingly limitless options. The adventurers can move 
in any direction over a trackless desert or an open 
grassland, so how r do you as the DM deal with all the 
possible locations and events that might make up a 
wilderness campaign? What if you design an encounter 
in a desert oasis, but the characters miss the oasis 
because they wander off course? How do you avoid 
creating a boring play session of uninterrupted slogging 
across a rocky wasteland? 

One solution is to think of an outdoor setting in the 
same way you think about a dungeon. Even the most 
wide-open terrain presents clear pathways. Roads 
seldom run straight because they follow' the contours 
of the land, finding the most level or otherwise easiest 
routes across uneven ground. Valleys and ridges 
channel travel in certain directions. Mountain ranges 
present forbidding barriers traversed only by remote 
passes. Even the most trackless desert reveals favored 
routes, where explorers and caravan drivers have 
discovered areas of wind-blasted rock that are easier to 
traverse than shifting sand. 

If the party veers off track, you might be able to 
relocate one or more of your planned encounters 
elsewhere on the map to ensure that the time spent 
preparing those encounters doesn't go to waste. 

Chapter 1 discusses the basics of creating a 
wilderness map at three different scales to help 
you design your world and the starting area of your 
campaign. Especially when you get down to province 
scale (1 hex = 1 mile), think about paths of travel—roads, 
passes, ridges and valleys, and so on—that can guide 
character movement across your map. 

Movement on the Map 

Narrate wilderness travel at a level of detail appropriate 
to the map you Ye using. If you're tracking hour-by-hour 
movement on a province-scale map (1 hex = 1 mile), 
you can describe each hamlet the adventurers pass. 

At this scale, you can assume that the characters find 
a noteworthy location when they enter its hex unless 
the site is specifically hidden. The characters might not 
walk directly up to the front door of a ruined castle when 
they enter a hex, but they can find old paths, outlying 
ruins, and other signs of its presence in the area. 

If you’re tracking a journey of several days on a 
kingdom-scale map (1 hex = 6 miles)* don't bother with 
details too small to appear on your map. It’s enough 
for the players to know that on the third day of their 
journey, they cross a river and the land starts rising 
before them, and that they reach the mountain pass two 
days later. 


WlLDERNESS FEATURES 

No wilderness map is complete without a few 
settlements, strongholds, ruins, and other sites worthy 
of discovery, A dozen such locations scattered over an 
area roughly 50 miles across is a good start. 

Monster Lairs 

A wilderness area approximately 50 miles across can 
support roughly a half-dozen monster lairs, but probably 
no more than one apex predator such as a dragon. 

If you expect the characters to explore a monster’s 
lair, you'll need to find or create an appropriate map for 
the lair and stock the lair as you would a dungeon. 

Monuments 

In places where civilization rules or once ruled, 
adventurers might find monuments built to honor great 
leaders, gods, and cultures. Use the Monuments table 
for inspiration, or randomly roll to determine what 
monument the adventurers stumble upon. 

Monuments 

d2G Monument 

1 Sealed burial mound or pyramid 

2 Plundered burial mound or pyramid 

3 Faces carved into a mountainside or cliff 

4 Giant statues carved out of a mountainside or cliff 

5-6 Intact obelisk etched with a warning, historical 

lore, dedication, or religious iconography 
7-8 Ruined or toppled obelisk 

9-10 Intact statue of a person or deity 

11-13 Ruined or toppled statue of a person or deity 

14 Great stone wall, intact, with tower fortifications 
spaced at one^mile intervals 

15 Great stone wall in ruins 

16 Great stone arch 

17 Fountain 

18 Intact circle of standing stones 

19 Ruined or toppled circle of standing stones 

20 Totem pole 

Ruins 

Crumbling towers, ancient temples, and razed cities 
are perfect sites for adventures. Additionally, noting the 
existence of an old, crumbling wall that runs alongside a 
road, a saggi ng stone windmill on a hilltop, or a jumble 
of standing stones can add texture to your wilderness. 

Settlements 

Settlements exist in places where food, water, farmland, 
and building materials are abundant. A civilized 
province roughly 50 miles across might have one city, a 
few rural towns, and a scattering of villages and trading 
posts. An uncivilized area might have a single trading 
post that stands at the edge of a wild frontier, but no 
larger settlements. 

In addition to settlements, a province might contain 
ruined villages and towns that are either abandoned or 
serve as lairs for marauding bandits and monsters. 


C H AFTLR 5 AD VENTURE EN VI RON MENTS 









Strongholds 

Strongholds provide the local population with protection 
in times of trouble. The number of strongholds in an 
area depends on the dominant society, the population, 
[he strategic importance or vulnerability of the region, 
and the wealth of the land. 

Weird Locales 

Weird locales make the fantastic and the supernatural 
an intrinsic part of vour wilderness adventures. 

Weird Locales 

d20 Locale 

I -2 Dead magic zone (similar to an antimagic field) 

3 Wild magic zone (roll on the Wild Magic Surge 
table in the Player's Handbook whenever a spell is 
cast within the zone) 

4 Boulder carved with talking faces 

5 Crystal cave that mystically answers questions 

6 Ancient tree containing a trapped spirit 
7-8 Battlefield where lingering fog occasionally 

assumes humanoid forms 

9-10 Permanent portal to another plane of existence 

II Wishing well 

12 Giant crystal shard protruding from the ground 

13 Wrecked ship, which might be nowhere near water 

14- 15 Haunted hill or barrow mound 

16 River ferry guided by a skeletal captain 

17 Field of petrified soldiers or other creatures 

18 Forest of petrified or awakened trees 

19 Canyon containing a dragons’ graveyard 

20 Floating earth mote with a tower on it 

Wilderness Survival 

Adventuring in the wilderness presents a. host of 
perils beyond the threats of monstrous predators and 
savage raiders. 

Weather 

You can pick weather to fit your campaign or roll on the 
Weather table to determine the weather for a given day, 
adjusting for the terrain and season as appropriate. 

Weather 

d20 Temperature 

1-14 Normal for the season 

15- 17 ld4 x 10 degrees Fahrenheit colder than normal 
18-20 ld4 x 10 degrees Fahrenheit hotter than normal 

d20 Wind 

1-12 None 
13-17 Light 
18-20 Strong 

d20 Precipitation 

1-12 None 

13-17 Light rain or light snowfall 
1S—20 Heavy rain or heavy snowfall 


















Extreme Gold 

Whenever the temperature is at or below 0 degrees 
Fahrenheit, a creature exposed to the cold must succeed 
on a DC 10 Constitution saving throw at the end of each 
hour or gain one level of exhaustion. Creatures with 
resistance or immunity to cold damage automatically 
succeed on the saving thrown as do creatures wearing 
cold weather gear (thick coats, gloves, and the like) and 
creatures naturally adapted to cold climates. 

Extreme Heat 

When the temperature is at or above 100 degrees 
Fahrenheit, a creature exposed to the heat and 
w ithout access to drinkable water must succeed on 
a Constitution saving throw at the end of each hour 
or gain one level of exhaustion. The DC is 5 for the 
first hour and increases by 1 for each additional hour. 
Creatures wearing medium or heavy armor, or who are 
clad in heavy clothing, have disadvantage on the saving 
throw. Creatures with resistance or immunity to fire 
damage automatically succeed on the saving throw, as 
do creatures naturally adapted to hot climates. 

Strong Wind 

A strong wind imposes disadvantage on ranged weapon 
attack rolls and Wisdom (Perception) checks that rely on 
hearing, A strong wind also extinguishes open flames, 
disperses fog, and makes flying by non magi cal means 
nearly impossible. A flying creature in a strong wind 
must land at the end of its turn or fall. 

A strong wand in a desert can create a sandstorm that 
imposes disadvantage on Wisdom (Perception) checks 
that rely on sight. 

Heavy Precipitation 

Everything within an area of heavy rain or heavy 
snowfall is lightly obscured, and creatures in the area 
have disadvantage on Wisdom (Perception) checks that 
rely on sight. Heavy rain also extinguishes open flames 
and imposes disadvantage on Wisdom (Perception) 
checks that rely on hearing. 

High Altitude 

Traveling at altitudes of 10,000 feet or higher above 
sea level is taxing for a creature that needs to breathe, 
because of the reduced amount of oxygen in the 
air. Each hour such a creature spends traveling at 
high altitude counts as 2 hours for the purpose of 
determining how long that creature can travel. 

Breathing creatures can become acclimated to a high 
altitude by spending 30 days or more at this elevation. 
Breathing creatures can’t become acclimated to 
elevations above 20,000 feet unless they are native to 
such environments. 

Wilderness Hazards 

l his section describes a few examples of hazards that 
adventurers might encounter in the wilderness. 

Some hazards, such as slippery ice and razor vine, 
require no ability check to spot. Others, such as 
defiled ground, are undetectable by normal senses. 


The other hazards presented here can be identified 
with a successful Intelligence (Nature) check. Use the 
guidelines in chapter 8 to set an appropriate DC for any 
check made to spot or recognize a hazard. 

Desecrated Ground 

Some cemeteries and catacombs are imbued with the 
unseen traces of ancient evil. An area of desecrated 
ground can be any size, and a defect evil and good spell 
cast within range reveals its presence. 

Undead standing on desecrated ground have 
advantage on all saving throws, 

A vial of holy water purifies a 10-foot-square area of 
desecrated ground when sprinkled on it, and a hallow 
spell purifies desecrated ground within its area. 

Frigid Water 

A creature can be immersed in frigid water for a 
number of minutes equal to its Constitution score before 
suffering any ill effects, Each additional minute spent 
in frigid water requires the creature to succeed on a 
DC 10 Constitution saving throw or gain one level of 
exhaustion. Creatures with resistance or immunity to 
cold damage automatically succeed on the saving throw 
as do creatures that are naturally adapted to living in 
ice-cold w^ater. 

Quicksand 

A quicksand pit covers the ground in roughly a 10-foot- 
square area and is usually 10 feet deep. When a creature 
enters the area, it sinks 1d4 + 1 feet into the quicksand 
and becomes restrained. At the start of each of the 
creature's turns, it sinks another ld4 feet. As long as 
the creature isn’t completely submerged in quicksand, 
it can escape by using its action and succeeding on a 
Strength check. The DC is 10 plus the number of feet 
the creature has sunk into the quicksand. A creature 
that is completely submerged in quicksand can’t breathe 
(se e the su ffo cat ion r u 1 e s in the Player s Ha ndbo ok ), 

A creature can pull another creature within its reach 
out of a quicksand pit by using its action and succeeding 
on a Strength check. The DC is 5 plus the number of 
feet the target creature has sunk into the quicksand. 

RAZORVINE 

Razorvine is a plant that growls in wild tangles and 
hedges. It also clings to the sides of buildings and 
other surfaces as ivy does, A IQ-foot-high, 10-foot-wide, 
SToot-thick wall or hedge of razorvine has AC 11,25 
hit points, and immunity to bludgeoning, piercing, and 
psychic damage. 

When a creature comes into direct contact with 
razorvine for the first time on a turn, the creature 
must succeed on a DC 10 Dexterity saving throw or 
take 5 (1 d 10) slashing damage from the razorvme's 
bladciike thorns. 

Slippery Ice 

Slippery ice is difficult terrain. When a creature moves 
onto slippery ice for the first time on a turn, it must 
succeed on a DC 10 Dexterity (Acrobatics) check or 
fall prone. 


c. H A PTE k 5 ! ADVENTURE hNV i RON M ENTS 


























Thin Ice 

Thin ice has a weight tolerance of 3d 10 * 10 pounds per 
10-foot-scjuare area. Whenever the total weight on an 
area of thin ice exceeds its tolerance, the ice in that area 
breaks. All creatures on broken ice fall through. 

Foraging 

Characters can gather food and water as the party 
travels at a normal or slow pace. A foraging character 
makes a Wisdom (Survival) check whenever you call for 
it, with the DC determined by the abundance of food and 
water in the region. 


Foraging DCs 

Food and Water Availability DC 

Abundant food and water sources 10 

Limited food and water sources 15 

Very little, if any; food and water sources 20 


If multiple characters forage, each character makes 
a separate check. A foraging character finds nothing 
on a failed check. On a successful check, roll ld6 + the 
haracter’s Wisdom modifier to determine how much 
food (in pounds) the character finds, then repeat the roll 
for water (in gallons). 


Food and Water 

The food and water requirements noted in the Player's 
Handbook are for characters. Horses and other 
creatures require different quantities of food and water 
per day based on their size. Water needs are doubled if 
the weather is hot. 


Food and Water Needs 


Creature Size 

Tiny 

Small 

Medium 

Large 

Huge 

Gargantuan 


Food per Day 
1/4 pound 
1 pound 
1 pound 
4 pounds 
16 pounds 
64 pounds 


Water per Day 
1/4 gallon 
1 gallon 
1 gallon 
4 gallons 
16 gallons 
64 gallons 


Becoming Lost _ 

Unless they are following a path, or something like it, 
adventurers traveling in the wilderness run the risk of 
becoming lost. The party's navigator makes a Wisdom 
(Survival) check when you decide it s appropriate, 
against a DC determined by the prevailing terrain, as 
shown on the Wilderness Navigation table. If the party 
is moving at a slow' pace, the navigator gains a +5 bonus 
to the check, and a fast pace imposes a 5 penalty. If the 
party has an accurate map of the region or can see the 
sun or stars, the navigator has advantage on the check. 


C K A PTE R 5 I AD V E N T U R £ ENVIRONMENTS 

11 r 























If the Wisdom (Survival) check succeeds, the party 
travels in the desired direction without becoming lost. 

If the check fails, the party inadvertently travels in the 
wrong direction and becomes lost. The party’s navigator 
can repeat the check after the party spends ld6 hours 
trying to get back on course. 


Wilderness Navigation 

Terrain DC 

Forest, jungle, swamp, mountains, or open sea 15 

with overcast skies and no land in sight 
Arctic, desert, hills, or open sea with clear skies 10 

and no land in sight 

Grassland, meadow, farmland 5 


Settlements 

A village, town, or city makes an excellent backdrop for 
an adventure. The adventurers might be called on to 
track down a criminal who’s gone into hiding, solve a 
murder, take out a gang of wererats or doppelgangers, 
or protect a settlement under siege. 

When creating a settlement for your campaign, focus 
on the locations that are most relevant to the adventure. 
Don’t worry about naming every street and identifying 
the inhabitants of every building; that way lies madness. 

Rando m Settle ments _ 

The following tables allow you to quickly create a 
settlement. They assume that you've already determined 
its size and its basic form of government. 

Race Relations 

d20 Result 

I- 10 Harmony 

II- 14 Tension or rivalry 

15-16 Racial majority are conquerors 

17 Racial minority are rulers 

IS Racial minority are refugees 

19 Racial majority oppresses minority 

20 Racial minority oppresses majority 

Ruler’s Status 

d20 Ruler 

1-5 Respected, fair, and just 

6-S Feared tyrant 

9 Weakling manipulated by others 

10 Illegitimate ruler, simmering civil war 

11 Ruled or controlled by a powerful monster 

12 Mysterious, anonymous cabal 

13 Contested leadership, open fighting 

14 Cabal seized power openly 

15 Doltish lout 

16 On deathbed, claimants compete for power 
17-18 Iron-wilied but respected 

19-20 Religious leader 



Notable Traits 

d20 Trait 

1 Canals in place of streets 

2 Massive statue or monument 

3 Grand temple 

4 Large fortress 

5 Verdant parks and orchards 

6 River divides town 

7 Major trade center 

8 Headquarters of a powerful family or guild 

9 Population mostly wealthy 

10 Destitute, rundown 

11 Awful smell (tanneries, open sewers) 

12 Center of trade for one specific good 

13 Site of many battles 

14 Site of a mythic or magical event 

15 Important library or archive 

16 Worship of all gods banned 

17 Sinister reputation 

18 Notable library or academy 

19 Site of important tomb or graveyard 

20 Built atop ancient ruins 

Known For Its ... 


d2Q 

Feature 

d20 

Feature 

1 

Delicious cuisine 

11 

Piety 

2 

Rude people 

j—— i ’i 

12 

Gambling 

3 

Greedy merchants 

13 

Godlessness 

4 

Artists and writers 

14 

Education 

5 

Great hero/savior 

15 

Wines 

6 

Flowers 

16 

High fashion 

7 

Hordes of beggars 

17 

Political intrigue 

S 

Tough warriors 

IS 

Powerful guilds 

9 

Dark magic 

19 

Strong drink 

10 

Decadence 

20 

Patriotism 

Current Calamity 



d2Q 

Calamity 



1 

Suspected vampire 

infestation 


2 

New cult seeks converts 



3 Important figure died (murder suspected) 

4 War between rival thieves' guilds 

5-6 Plague or famine (sparks riots) 

7 Corrupt officials 

8-9 Marauding monsters 

10 Powerful wizard has moved into town 

11 Economic depression (trade disrupted) 

12 Flooding 

13 Undead stirring in cemeteries 

14 Prophecy of doo m 

15 Brink of war 

16 Internal strife (leads to anarchy) 

17 Besieged by enemies 

IS Scandal threatens powerful families 

19 Dungeon discovered (adventurers flock to town) 

20 Religious sects struggle for power 


112 


CHAPTER 5 I ADVENTURE ENVIRONMENTS 













Random Buildings 


Pulse-pounding chases and harrowing escapes within 
ihe confines of a town or city can sometimes force 
characters to dash into buildings* When you need to 
flesh out a building quickly, roll on the Building Type 
table* Then roll on the table corresponding to that 
building to add further detail. 

If a roll makes no sense considering where the 
characters are (such as a lavish mansion in a rundown 
part of town), you can always roll again or simply choose 
another result However, such unexpected results can 
prompt creativity and memorable locations that help 
make your urban encounters distinct. 

Building Type 

d2G Type 

I- 10 Residence [roll once on the Residence table) 

II- 12 Religious (roil once on the Religious Building table) 
13-15 Tavern (roll once on the Tavern table and twice on 

the Tavern Name Generator table) 

16-17 Warehouse (roll once on the Warehouse table) 

18-20 Shop (roll once on the Shop table] 

Residence 

d20 Type 

1-2 Abandoned squat 

3-8 Middle-class home 

9—10 Upper-class home 

11-15 Crowded tenement 

"6-17 Orphanage 

IS Hidden slavers' den 

19 Front for a secret cult 

20 Lavish, guarded mansion 

Religious Building 

d2Q Type 

1-10 Temple to a good or neutral deity 

"1-12 Temple to a false deity (run by charlatan priests) 

13 Home of ascetics 

‘4-15 Abandoned shrine 

6-17 Library dedicated to religious study 
‘8-20 Hidden shrine to a fiend or an evil deity 



Type 

Quiet, low-key bar 
Raucous dive 
Thieves' guild hangout 
Gathering place for a secret society 
Upper-class dining club 
Gambling den 

Caters to specific race or guild 
Members-only dub 
Brothel 


Tavern Name Generator 


620 

First Part 

Second Part 

1 

The Silver 

Eel 

2 

The Golden 

Dolphin 

3 

The Staggering 

Dwarf 

4 

The Laughing 

Pegasus 

5 

The Prancing 

Pony 

6 

The Gilded 

Rose 

7 

The Running 

Stag 

S 

The Howling 

Wolf 

9 

The Slaughtered 

Lamb 

10 

The Leering 

Demon 

11 

The Drunken 

Goat 

12 

The Leaping 

Spirit 

13 

The Roaring 

Horde 

14 

The Frowning 

Jester 

15 

The Lonely 

Mountain 

16 

The Wandering 

Eagle 

17 

The Mysterious 

Satyr 

IS 

The Barking 

Dog 

19 

The Black 

Spider 

20 

The Gleaming 

Star 

Warehouse 


d20 

Type 


1-4 

Empty or abandoned 

5-6 

Heavily guarded, expensive goods 

7-10 

Cheap goods 


11-14 

Bulk goods 


15 

Live animals 


16-17 

Weapons/arm or 


18-19 

Goods from a distant land 

20 

Secrei smuggler's den 


; H-\PTER 5 

1 ADVENTURE LX 


X M E; 


A 





















Shop 


d20 

Type 

d20 

Type 

1 

Pawnshop 

11 

Smithy 

2 

Herbs/incense 

12 

Carpenter 

3 

Fruits/vegetables 

13 

Weaver 

4 

Dried meats 

14 

Jeweler 

5 

Pottery 

IS 

Baker 

6 

Undertaker 

16 

Mapmaker 

7 

Books 

17 

Tailor 

8 

Moneylender 

18 

Ropemaker 

9 

Weapons/armor 

19 

Mason 

10 

Chandler 

20 

Scribe 


Mapping a Settlement 

When you draw a map for a settlement in your game, 
donh worry about the placement of every building, and 
concentrate instead on the major features. 

For a village* sketch out the roads, including trade 
routes leading beyond the village and roads that connect 
outlying farms to the village center* Note the location of 
the village center. If the adventurers visit specific places 
in the village* mark those spots on your map* 

For towns and cities* note major roads and waterways 
as well as surrounding terrain. Outline the wails 
and mark the locations of features you know will be 
important: the lord's keep, significant temples* and 
the like. For cities, add internal walls and think about 
the personality of each ward. Give the wards names 
reflecting their personalities, which also identify 
the kinds of trades that dominate the neighborhood 
(Tannery Square, Temple Row), a geographical 
characteristic (Hilltop, Riverside), or a dominant site 
(the Lords' Quarter), 

Urban Encounters 

Although they hold the promise of safety, cities and 
towns can be just as dangerous as the darkest dungeon. 
Evil hides in plain sight or in dark corners. Sewers, 
shadowy alleys, slums, smoke-filled taverns, dilapidated 
tenements, and crowded marketplaces can quickly turn 
into battlegrounds. On top of that, adventurers must 
learn to behave themselves* lest they attract unwanted 
attention from local authorities. 

That said, characters who don't go looking for trouble 
can take advantage of all the benefits that a settlement 
has to offer. 

Law and Order 

Whether a settlement has a police force depends on its 
size and nature. A lawful* orderly city might have a city 
watch to maintain order and a trained militia to defend 
its walls, and a frontier town might rely on adventurers 
or its citizenry to apprehend criminals and fend off 
attackers. 

Trials 

In most settlements, trials are overseen by magistrates 
or local lords. Some trials are argued, with the 
conflicting parties or their advocates presenting 


precedent and evidence until the judge makes 
a decision, with or without the aid of spells or 
interrogation* Others are decided %vith a trial by ordeal 
or trial by combat* If the evidence against the accused 
is overwhelming* a magistrate or local lord can forgo a 
trial and skip right to the sentencing. 

Sentences 

A settlement might have a jail to hold accused criminals 
awaiting trial, but few settlements have prisons to 
incarcerate convicted criminals* A person found guilty 
of a crime is usually fined, condemned to forced labor 
for a period of several months or years, exiled, or 
executed, depending on the magnitude of the crime. 

Random Urban Encounters 

The Random Urban Encounters table is useful for 
city- and town-based adventures. Check for a random 
encounter at least once per day, and once at night if 
the characters are out and about. Reroll the result if it 
doesn't make sense given the time of day. 


Random Urban Encounters 


dl2 + d8 

Encounter 

2 

Animals on the loose 

3 

Announcement 

4 

Brawl 

5 

Bullies 

6 

Companion 

7 

Contest 

S 

Corpse 

9 

Draft 

10 Drunk 

11 

Fire 

12 

Found trinket 

13 

Guard harassment 

14 

Pickpocket 

15 

Procession 

16 

Protest 

17 

Runaway cart 

18 

Shady transaction 

19 

Spectacle 

20 

Urchin 


Animals on the Loose . The characters see one or 
more unexpected animals loose in the street. This 
challenge could be anything from a pack of baboons to 
an escaped circus bear, tiger* or elephant* 
Announcement. A herald, town crier, mad person, 
or other individual makes an announcement on a 
street corner for all to hear. The announcement might 
foreshadow some upcoming event (such as a public 
execution)* communicate important information to the 
general masses (such as a new royal decree)* or convey a 
dire omen or warning. 

Brawl . A brawl erupts near the adventurers. It could 
be a tavern brawl: a battle between rival factions, 
families, or gangs in the city; or a struggle between 
city guards and criminals. The characters could be 


CHAPTER 5 l adventure environments 









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witnesses, hit by stray arrow fire, or mistaken for 
members of one group and attacked by the other. 

Bullies* The characters witness ld4 + 2 bullies 
harassing an out-of-towner (use the commoner statistics 
in the Monster Manual for all of them). A bully flees as 
soon as he or she takes any amount of damage. 

Companion . One or more characters are approached 
by a local who takes a friendly interest in the partys 
activities. As a twist, the would-be companion might be 
a spy sent to gather information on the adventurers. 

Contest The adventurers are drawn into an 
impromptu contest—anything from an intellectual test 
to a drinking competition—or witness a dud. 

Corpse ■ The adventurers find a humanoid corpse. 

Draft The characters are drafted by a member of the 
city or town watch, who needs their help to deal with an 
immediate problem. As a twist, the member of the watch 
might be a disguised criminal trying to lure the party 
into an ambush (use the thug statistics in the Monster 
Manual for the criminal and his or her cohorts). 

Drunk . A tipsy drunk staggers toward a random party 
member, mistaking him or her for someone else. 

Fire . A fire breaks out. and the characters have a 
chance to help put out the flames before it spreads. 

Found Trinket The characters find a random trinket. 
You can determine the trinket by rolling on the Trinkets 
table in the Players Handbook. 

Guard Harassment The adventurers are cornered 
by ld4 + I guards eager to throw their weight around. If 
threatened, the guards call out for help and might attract 
the attention of other guards or citizens nearby. 

Pickpocket A thief (use the spy statistics in the 
Monster Manual) tries to steal from a random character. 
Characters whose passive Wisdom (Perception) scores 
are equal to or greater than the thief’s Dexterity (Sleight 
of Hand) check total catch the theft in progress. 

Procession . The adventurers encounter a group of 
citizens either parading in celebration or forming a 
funeral procession. 

Protest The adventurers see a group of citizens 
peacefully protesting a new law or decree. A handful of 
guards maintain order. 

Runaway Cart A team of horses pulling a wagon 
races through the city streets. The adventurers must 
avoid the horses. If they stop the wagon, the owner (who 
is running behind the cart) is grateful. 

Shady Transaction* The characters witness a shady 
transaction between two cloaked figures. 

Spectacle* The characters witness a form of public 
entertainment, such as a talented bard's impersonation 
of a royal personage, a street circus, a puppet show, 
a flashy magic act, a royal visit, or a public execution. 

Urchin* A street urchin glams onto the adventurers 
and follows them around until frightened off. 

Unusual Environments 

Traveling through the wilderness doesn't always mean 
an overland trek. Adventurers might ply the open sea in 
a caravel or an elemental-powered galleon, soar through 
the air on hippogriffs or a carpet of flying* or ride giant 
sea horses to coral palaces deep beneath the sea. 


ADVENTU RE EN VI RONMENTS 


Underwater 

See chapter 9 of the Players Handbook for rules on 
underwater combat. 

Random Undersea Encounters 

You can check for random undersea encounters as ofter 
as you would check for them on land (see chapter 3), Th 
Random Undersea Encounters table presents several 
intriguing options. You can either roll on the table for a 
random result or choose whichever one works best. 

Random Undersea Encounters 

dl2 + d8 Encounter 

2 Sunken ship covered in barnacles (25 percent 
chance that the ship contains treasure; roll 
randomly on the treasure tables in chapter 7) 

3 Sunken ship with reef sharks (shallow waters) or 
hunter sharks (deep waters) circling around it (50 
percent chance that the ship contains treasure; 
roll randomly on the treasure tables in chapter 7) 

4 Bed of giant oysters (each oyster has a 1 percent 
chance of having a giant 5,000 gp pearl inside) 

5 Underwater steam vent (25 percent chance that 
the vent is a portal to the Elemental Plane of Fire) 

6 Sunken ruin (uninhabited) 

7 Sunken ruin (inhabited or haunted) 

8 Sunken statue or monolith 

9 Friendly and curious giant sea horse 

10 Patrol of friendly merfolk 

11 Patrol of hostile merrow (coastal waters) or 
sahuagin (deep waters) 

12 Enormous kelp bed (roll again on the table to 
determine what's hidden in the kelp bed) 

13 Undersea cave (empty) 

14 Undersea cave (sea hag lair) 

15 Undersea cave (merfolk lair) 

16 Undersea cave (giant octopus lair) 

17 Undersea cave (dragon turtle lair) 

18 8 ronze dragon search i ng for trea s ure 

19 Storm giant walking on the ocean floor 

20 Sunken treasure chest (25 percent chance that 
it contains something of value; roll treasure 
randomly using the tables in chapter 7) 

Swimming 

Unless aided by magic, a character can t swim for a 
full 8 hours per day. After each hour of swimming, a 
character must succeed on a DC 10 Constitution saving 
throw r or gain one level of exhaustion. 

A creature that has a swimming speed-including a 
character with a ring of swimming or similar magic- 
can swim all day without penalty and uses the normal 
forced march rules in the Players Handbook . 

Swimming through deep water is similar to traveling 
at high altitudes, because of the water’s pressure and 
cold temperature. For a creature without a swimming 
speed, each hour spent swimming at a depth greater 
than 100 feet counts as 2 hours for the purpose of 


CHAPTER 5 











determining exhaustion. Swimming for an hour at a 
depth greater than 200 feet counts as 4 hours. 


Underwater Visibility 

\ isibility underwater depends on water clarity and the 
available light. Unless the characters have light sources, 
use the Underwater Encounter Distance table to 
determine the distance at which characters underwater 
become aware of a possible encounter. 


Underwater Encounter Distance 


Creature Size 
C ear water, bright light 


Encounter Distance 
60 ft. 

30 ft. 


The Sea 


Characters can row a boat for 8 hours per day. or can 
row longer at the risk of exhaustion (as per the rules for 
a forced march in chapter 8 of the Players Handbook ). A 
fully crewed sailing vessel can sail all day, assuming its 
sailors work in shifts. 

Navigation 

Seagoing vessels stay dose to shore when they can. 
because navigation is easier when landmarks are 
visible. As long as a ship is within sight of land, there 
is no chance of the vessel becoming lost. Otherwise, a 
ships navigator must rely on dead reckoning (tracking 


m 








V 


N * 


0 


the direction and distance of the ship s travel) or the sun 
and the stars* 

Use the Wilderness Navigation table earlier in this 
chapter to determine whether a ship veers off course* 

Random Encounters at Sea 
You can check for random encounters at sea as often 
as you would check for them on land (see chapter 3 for 
more information). The Random Encounters at Sea 
table presents a number of options and ideas. 

^-W 

Shipwrecks 

A shipwreck is a plot device that cart be used sparingly to 
great effect, particularly if you want the characters to be 
washed ashore on some monster-infested island or (in the 
case of an airship) dropped in the middle of some exotic 
land. There aren’t rules for determining when a shipwreck 
happens; it happens when you want or need it to happen. 

Even the strongest seafaring ship can founder in a storm, 
run aground on rocks or reefs t sink during a pirate attack, or 
be dragged underwater by a sea monster. A storm or hungry 
dragon can lay waste to an airship just as easily. A shipwreck 
has the potential to change the direction of a campaign, it 
isn’t however, a particularly good way to kill off characters or 
end a campaign. 

If you and your campaign conspire to wreck a ship on 
which the characters are traveling, it is assumed that the 
characters survive with the equipment they were wearing or 
carrying still in their possession. The fate of any MPCs and 
cargo aboard the wrecked ship is entirely up to you. 


Random Encounters at Sea 

d!2 + d8 Encounter 

2 Ghost ship 

3 Friendiy and curious bronze dragon 

4 Whirlpool (25 percent chance that the whirlpool 
a portal to the Elemental Plane of Water) 

5 Merfolk traders 

6 Passing warship (friendly or hostile) 

7-8 Pirate ship (hostile) 

9-10 Passing merchant ship (galley or sailing ship) 
Killer whale sighting 
Floating debris 

15 Longship crewed by hostile berserkers 

16 Hostile griffons or harpies 

17 Iceberg (easily avoided if seen from a distance) 

18 Sahuagin boarding party 

19 IMPC in the water (dinging to floating debris) 

20 Sea monster {such as a dragon turtle or kraken) 

Weather at Sea 

Use the Weather table earlier in this chapter when 
checking for weather at sea. 

If weather conditions indicate both a strong wind 
and heavy rain, they combine to create a storm with 
high waves. A crew caught in a storm loses sight of all 
landmarks (unless there s a lighthouse or other bright 
feature), and ability checks made to navigate during the 
storm have disadvantage. 


CHAPTER 5 I ADVENTURE ENVIRONMENTS 













Airborne and Waterborne Vehicles 


Ship 

Airship 

Cost 

Speed 

Crew 

Passengers 

Cargo (tons) 

AC 

13 

HP 

Damage Threshold 

20.000 gp 

S mph 

10 

20 

1 

300 

’—- 

Galley 

30,000 gp 

4 mph 

SO 

-— 

150 

15 

500 

20 

-,eelboat 

3,000 gp 

1 mph 

1 

6 

1/2 

15 

100 

10 

.ongship 

10 t 000 gp 

3 mph 

40 

150 

10 

15 

300 

15 

towboat 

50 gp 

IV 2 mph 

1 

3 

— 

11 

50 

— 

Sailing ship 

10,000 gp 

2 mph 

20 

20 

100 

15 

300 

15 

. L , arship 

25,000 gp 

2 V 2 mph 

SO 

60 

200 

15 

500 

20 


In a dead calm (no wind), ships can't move under sail 
and must be rowed. A ship sailing against a strong wind 
moves at half speed. 

Visibility 

A relatively calm sea offers great visibility. From a 
row's nest, a lookout can spot another ship or a 
coastline up to 10 miles away, assuming clear skies. 
Overcast skies reduce that distance by half. Rain and 
fog reduce visibility just as they do on land. 

Owning a Ship 

At some point in your campaign, the adventurers 
light gain custody of a ship. They might purchase or 
apture one or receive one to carry out a mission. It's 
ap to you whether a ship is available for purchase, and 
you have the power to deprive the adventurers of a 
ship at any time should it become a nuisance (see the 
Shipwrecks'' sidebar). 

Crew . A ship needs a crew of skilled hirelings to 
function. As per the Players Handbook , one skilled 
ireling costs at least 2 gp per day. The minimum 
number of skilled hirelings needed to crew a ship 
depends on the type of vessel, as shown in the Airborne 
and Waterborne Vehicles table. 

You can track the loyalty of individual crew members 
r the crew as a whole using the optional loyalty rules 
in chapter 4. If at least half the crew becomes disloyal 
during a voyage, the crew turns hostile and stages a 
mutiny. If the ship is berthed, disloyal crew members 
ieave the ship and never return. 

Passengers ■ The table indicates the number of Small 
and Medium passengers the ship can accommodate. 
Accommodations consist of shared hammocks in tight 
quarters. A ship outfitted with private accommodations 
:an carry one-fifth as many passengers, 

A passenger is usually expected to pay 5 sp per day 
: -r a hammock, but prices can vary from ship to ship. A 
-mall private cabin usually costs 2 gp per day. 

Cargo. The table indicates the maximum tonnage 
ich kind of ship can carry. 

Damage Threshold . A ship has Immunity to all 
iamage unless it takes an amount of damage equal to or 
. eater than its damage threshold, in which case it takes 
damage as normal Any damage that fails to meet or 
exceed the damage threshold is considered superficial 
and doesn't reduce the ships hit points. 

Ship Repair ; Repairs to a damaged ship can be made 
hiie the vessel is berthed. Repairing 1 hit point of 
damage requires 1 day and costs 20 gp for materials 
jnd labor. 


The Sky 

Flying characters can move from one place to another in 
a relatively straight line, ignoring terrain and monsters 
that can’t fly or that lack ranged attacks. 

Flying by spell or magic item works the same as 
travel on foot, as described in the Players Handbook . A 
creature that serves as a flying mount must rest 1 hour 
for every 3 hours it flies, and it can't fly for more than 
9 hours per day. Thus, characters mounted on griffons 
(which have a flying speed of 80 feet) can travel at S 
miles per hour, covering 72 miles over 9 hours with two 
1-hour-long rests over the course of the day. Mounts that 
don't tire (such as a flying construct) aren't subject to 
this limitation. 












As adventurers travel through the air, check for 
random encounters as you normally would. Ignore any 
result that indicates a non-flying monster, unless the 
characters are flying close enough to the ground to be 
targeted by non-flying creatures making ranged attacks. 
Characters have normal chances to spot creatures on 
the ground and can decide whether to engage them. 

Traps 

Traps can be found almost anywhere. One wrong step 
in an ancient tomb might trigger a series of scything 
blades, which cleave through armor and bone. The 
seemingly innocuous vines that hang over a cave 
entrance might grasp and choke anyone who pushes 
through them, A net hidden among the trees might drop 
on travelers who pass underneath. In the D&D game, 
unwary adventurers can fall to their deaths, be burned 
alive, or fall under a fusillade of poisoned darts. 

A trap can be either mechanical or magical in 
nature. Mechanical traps include pits, arrow' 
traps, falling blocks, water-filled rooms, whirling 
blades, and anything else that depends on 
a mechanism to operate. Magic traps are either 
magical device traps or spell traps. Magical device 
traps initiate spell effects when activated. Spell traps 
are spells such as glyph of warding and symbol that 
function as traps. 


Traps in Play _ 

When adventurers come across a trap, you need to know 
how f the trap is triggered and what it does, as well as the 
possibility for the characters to detect the trap and to 
disable or avoid it. 

Triggering a Trap 

Most traps are triggered when a creature goes 
somewhere or touches something that the trap's creator 
wanted to protect. Common triggers include stepping or, 
a pressure plate or a false section of floor, pulling a trip 
wire, turning a doorknob, and using the wrong key in a 
lock. Magic traps are often set to go off when a creature 
enters an area or touches an object. Some magic 
traps (such as the glyph of warding spell) have more 
complicated trigger conditions, including a password 
that prevents the trap from activating. 

Detecting and Disabling a Trap 

Usually, some element of a trap is visible to careful 
inspection. Characters might notice an uneven flagstone 
that conceals a pressure plate, spot the gleam of light off 
a trip wire, notice small holes in the walls from which 
jets of flame will erupt, or otherw ise detect something 
that points to a trap’s presence. 

A traps description specifies the checks and DCs 
needed to detect it, disable it, or both, A character 


H! -►* 


i £0 


CHAPTER 5 1 ADVENTUREENVIP.ONMENTS 
















actively looking for a trap can attempt a Wisdom 
(Perception) check against the trap's DC, You can 
also compare the DC to detect the trap with each 
character's passive Wisdom (Perception) score to 
determine whether anyone in the party notices the 
trap in passing. If the adventurers detect a trap before 
triggering it, they might be able to disarm it, either 
permanently or long enough to move past it. You might 
call for an Intelligence (Investigation) check for a 
character to deduce what needs to be done, followed 
by a Dexterity check using thieves’ tools to perform the 
necessary sabotage. 

Any character can attempt an Intelligence (Arcana) 
check to detect or disarm a magic trap, in addition to 
any other checks noted in the trap’s description. The 
DCs are the same regardless of the check used* In 
addition, dispel magic has a chance of disabling most 
magic traps. A magic trap’s description provides the DC 
for the ability check made when you use dispel magic. 

In most cases, a trap's description is clear enough 
that you can adjudicate whether a character’s actions 
locate or foil the trap. As with many situations, you 
shouldn't allow die rolling to override clever play and 
good planning. Use your common sense, drawing on the 
trap's description to determine what happens. No trap’s 
design can anticipate every possible action that the 
characters might attempt. 

You should allow a character to discover a trap 
without making an ability check if an action would 
clearly reveal the trap’s presence. For example, if a 
character lifts a rug that conceals a pressure plate, 
die character has found the trigger and no check 
is required. 

Foiling traps can be a little more complicated* 
Consider a trapped treasure chest* If the chest is opened 
without first pulling on the two handles set in its sides, a 
mechanism inside fires a hail of poison needles toward 
anyone in front of it* After inspecting the chest and 
making a few checks, the characters are still unsure 
if it's trapped. Rather than simply open the chest, they 
prop a shield in front of it and push the chest open at 
a distance with an iron rod. In this case* the trap still 
triggers, but the hail of needles fires harmlessly into 
the shield* 

Traps are often designed with mechanisms that allow 
them to be disarmed or bypassed. Intelligent monsters 
that place traps in or around their lairs need ways 
:o get past those traps without harming themselves* 
Such traps might have hidden levers that disable their 
riggers, or a secret door might conceal a passage that 
goes around the trap* 

Trap Effects 

The effects of traps can range from inconvenient to 
deadly, making use of elements such as arrows, 
spikes, blades, poison, toxic gas, blasts of lire. 


and deep pits. The deadliest traps combine multiple 
elements to kill, injure, contain, or drive off any creature 
unfortunate enough to trigger them, A trap's description 
specifies what happens when it is triggered. 

The attack bonus of a trap, the save DC to resist its 
effects* and the damage it deals can vary depending on 
the trap s severity. Use the Trap Save DCs and Attack 
Bonuses table and the Damage Severity by Level table 
for suggestions based on three levels of trap severity. 

A trap intended to be a setback is unlikely to kill 
or seriously harm characters of the indicated levels, 
whereas a dangerous trap is likely to seriously injure 
(and potentially kill) characters of the indicated 
levels* A deadly trap is likely to kill characters of the 
indicated levels. 

Trap Save DCs and Attack Bonuses 

Trap Danger Save DC Attack Bonus 


Setback 

Dangerous 

Deadly 


10-11 

12-15 

16-20 


+3 to +5 
+6 to +8 
+9 to +12 


Damage Severity by Level 


Character Level 

Setback 

Dangerous 

Deadly 

1st-4th 

IdlO 

2dl0 

4dl0 

5 th—10 th 

2d10 

4dl0 

lOdlO 

nth-ieth 

/4dl0 

lOdlO 

ISdlO 

17th—20th 

lOdlO 

18dl0 

24dl0 


Complex Traps 

Complex traps work like standard traps, except once 
activated they execute a series of actions each round* A 
complex trap turns the process of dealing w ith a trap 
into something more like a combat encounter. 

When a complex trap activates, it rolls initiative. The 
trap’s description includes an initiative bonus. On its 
turn* the trap activates again, often taking an action* It 
might make successive attacks against intruders, create 



R 5 | ADVENTURE ENVIRONMENTS 










an efiect that changes ox er time, or otherwise produce a 
dynamic challenge. Otherwise, the complex trap can be 
detected and disabled or bypassed in the usual ways. 

For example, a trap that causes a room to slowly 
flood works best as a complex trap. On the trap s turn, 
the water level rises. After several rounds, the room is 
completely flooded. 

Sample Traps _ 

The magical and mechanical traps presented here vary 
in dcadliness and are presented in alphabetical order. 

Collapsing Roof 

Mechanics! trap 

This trap uses a trip wire to collapse the supports 
keeping an unstable section of a ceiling in place. 

The trip wire is 3 inches off the ground and stretches 
between two support beams. The DC to spot the trip 
wire is 10. A successful DC 15 Dexterity check using 
thieves' tools disables the trip wire harmlessly. A 
character without thieves 1 tools can attempt this check 
with disadvantage using any edged weapon or edged 
tool On a failed check, the trap triggers. 

Anyone who inspects the beams can easily determine 
that they are merely wedged in place. As an action, 
a character can knock over a beam, causing the trap 
to trigger. 

The ceiling above the trip wire is in bad repair, 
and anyone who can see it can tell that it's in danger 
of collapse. 

When the trap is triggered, the unstable ceiling 
collapses. Any creature in the area beneath the unstable 
section must succeed on a DC 15 Dexterity saving 
throw, taking 22 (4dl0) bludgeoning damage on a failed 
save, or half as much damage on a successful one. Once 
the trap is triggered T the floor of the area is filled with 
rubble and becomes difficult terrain. 

Falling Net 
Mechanical trap 

This trap uses a trip wire to release a net suspended 
from the ceiling. 

The trip wire is 3 inches off the ground and stretches 
between two columns or trees. The net is hidden by 
cobwebs or foliage, ‘ he DC to spot the trip wire and net 
is 10. A successful DC 15 Dexterity check using thieves' 
tools breaks the trip wire harmlessly. A character 
without thieves' tools can attempt this check with 
disadvantage using any edged weapon or edged tool. On 
a failed check, the trap triggers. 

When the trap is triggered, the net is released, 
covering a 10-foot-square area. Those in the area are 
trapped under the net and restrained, and those that fail 
a DC 10 Strength saving throw are also knocked prone. 
A creature can use its action to make a DC 10 Strength 
check, freeing itself or another creature within its reach 
on a success. The net has AC 10 and 20 hit points. 
Dealing 5 slashing damage to the net (AC 10) destroys a 
5-foot-square section of it, freeing any creature trapped 
in that section. 


Fire-Breathing Statu : 

Magic trap 

This trap is activated when an intniz :r -:eps on a 
hidden pressure plate, releasn _ a ma; :al gout of flam 
from a nearby statue. The statue can be of anything, 
including a dragon or a wizard casting a spell. 

The DC is 15 to spot the pressure plate, as %vell as 
faint scorch marks on the floor and walls. A spell or 
other effect that can sense the presence of magic, such 
as detect magic , reveals an aura of evocation magic 
around the statue. 

The trap activates when more than 20 pounds of 
weight is placed on the pressure plate, causing the 
statue to release a 30-foot cone of Are, Faeh creature 
in the fire must make a DC 13 Dexterity saving throw, 
taking 22 (4dl0) Are damage on a failed save, or half as 
much damage on a successful one. 

Wedging an iron spike or other object under the 
pressure plate prevents the trap from activating. A 
successful dispel magic (DC 13) cast on the statue 
destroys the trap. 

Pits 

Mechanical trap 

Four basic pit traps are presented here. 

Simple Pit A simple pit trap is a hole dug in the 
ground. The hole is covered by a large cloth anchored on 
the pit’s edge and camouflaged with dirt anti debris. 

The DC to spot the pit is 10, Anyone stepping on the 
cloth falls through and pulls the cloth down into the pit. 
taking damage based on the pit s depth (usually 10 feet, 
but some pits are deeper). 

Hidden Pit This pit has a cover constructed from 
material identical to the floor around it. 

A successful DC 15 Wisdom (Perception) check 
discerns an absence of foot traffic over the section 
of floor that forms the pit's cover, A successful DC 
15 Intelligence (Investigation) check is necessary to 
confirm that the trapped section of floor is actually the 
cover of a pit. 

When a creature steps on the cover, it swings open 
like a trapdoor, causing the intruder to spill into the 
pit below. The pit is usually 10 or 20 feet deep but can 
be deeper. 

Once the pit trap is detected, an iron spike or similar 
object can be wedged between the pits cover and the 
surrounding floor in such a way as to prevent the cover 
from opening, thereby making it safe to cross. The cover 
can also be magically held shut using the arcane lock 
spell or similar magic. 

Locking Pit This pit trap is identical to a hidden pit 
trap, with one key exception: the trap door that covers 
the pit is spring-loaded. After a creature falls into the pit. 
the cover snaps shut to trap its victim inside, 

A successful DC 20 Strength check is necessary to 
pry the cover open. The cover can also be smashed open 
(determine the cover's statistics using the guidelines 
in chapter 8). A character in the pit can also attempt to 
disable the spring mechanism from the inside with a DC 


CHAPTER 5 ! ADVENTURE ENVIRONMENTS 








15 Dexterity check using thieves' tools, provided that the 
mechanism can be reached and the character can see. 

In some cases, a mechanism (usually hidden behind a 
secret door nearby) opens the pit* 

Spiked Pit This pit trap is a simple, hidden, or 
locking pit trap with sharpened wooden or iron spikes 
at the bottom. A creature falling into the pit takes 11 
(2d 10) piercing damage from the spikes, in addition to 
any falling damage. Even nastier versions have poison 
smeared on the spikes. In that case, anyone taking 
piercing damage from the spikes must also make a 
DC 13 Constitution saving throw, taking an 22 (4d30) 
poison damage on a failed save, or half as much damage 
on a successful one. 

Poison Darts 

Mechanical trap 

When a creature steps on a hidden pressure plate, 
poison-tipped darts shoot from spring-loaded or 
pressurized tubes cleverly embedded in the surrounding 
walls* An area might include multiple pressure plates, 
each one rigged to its own set of darts. 

The tiny holes in the walls arc obscured by dust and 
cobwebs, or cleverly hidden amid bas-reliefs, murals, or 
frescoes that adorn the walls. The DC to spot them is 
15, With a successful DC 15 Intelligence (Investigation) 
check, a character can deduce the presence of the 
pressure plate from variations in the mortar and 
stone used to create it. compared to the surrounding 
door. Wedging an iron spike or other object under the 
pressure plate prevents the trap from activating. Stuffing 
ihe holes with cloth or wax prevents the darts contained 
within from launching* 

The trap activates when more than 20 pounds of 
weight is placed on the pressure plate, releasing four 
darts. Each dart makes a ranged attack with a +8 bonus 
against a random target within 10 feet of the pressure 
plate (vision is irrelevant to this attack roll). (If there are 
no targets in the area, the darts don't hit anything.) A 
mrget that is hit takes 2 (ld4) piercing damage and must 
succeed on a DC 15 Constitution saving throw, taking 
1 (2d 10) poison damage on a failed save, or half as 
much damage on a successful one. 

PorsoN Needle 

Mechanical trap 

\ poisoned needle is hidden within a treasure chest's 
ck, or in something else that a creature might open. 
Opening the chest without the proper key causes the 
needle to spring out, delivering a dose of poison* 

When the trap is triggered, the needle extends 3 
inches straight out from the lock. A creature within 
nge takes 1 piercing damage and 11 (2d 10) poison 
image, and must succeed on a DC 15 Constitution 
ssvipg throw or be poisoned for 1 hour, 

\ successful DC 20 Intelligence (Investigation) check 
Cows a character to deduce the trap's presence from 
r ations made to the lock to accommodate the needle* 
successful DC 15 Dexterity check using thieves' 


tools disarms the trap, removing the needle from 
the lock. Unsuccessfully attempting to pick the lock 
triggers the trap. 

Rolling Sphere 

Mechanical trap 

When 20 or more pounds of pressure are placed on this 
trap's pressure plate, a hidden trapdoor in the ceiling 
opens, releasing a 10-foot-diameter rolling sphere of 
solid stone. 

With a successful DC 15 Wisdom (Perception) check, 
a character can spot the trapdoor and pressure plate* 

A search of the floor accompanied by a successful DC 
15 Intelligence (Investigation) check reveals variations 
in the mortar and stone that betray the pressure plate's 
presence. The same check made while inspecting the 
ceiling notes variations in the stonework that reveal the 
trapdoor. Wedging an iron spike or other object under 
the pressure plate prevents the trap from activating. 

Activation of the sphere requires all creatures present 
to roll initiative. The sphere rolls initiative with a -f 8 
bonus. On its turn, it moves 60 feet in a straight line. 

The sphere can move through creatures' spaces, and 
creatures can move through its space, treating it as 
difficult terra i n. W h e n e ve r t he s ph e re e nters a c re a t u re s 
space or a creature enters its space while it's rolling, 
that creature must succeed on a DC 15 Dexterity saving 
throw or take 55 (lOdlO) bludgeoning damage and be 
knocked prone. 

The sphere stops when it hits a wall or similar barrier. 
If can’t go around corners, but smart dungeon builders 
incorporate gentle, curving turns into nearby passages 
that allow the sphere to keep moving. 

As an action, a creature within 5 feel of the sphere can 
attempt to slow it down with a DC 20 Strength check. 

On a successful check, the sphere's speed is reduced by 
15 feet. If the sphere's speed drops to 0, it stops moving 
and is no longer a threat. 

Sphere of Annihilation 
Magic trap 

Magical, impenetrable darkness fills the gaping mouth 
of a stone face carved into a wall. The mouth is 2 feet in 
diameter and roughly circular. No sound issues from it, 
no light can illuminate the inside of it, and any matter 
that enters it is instantly obliterated. 

A successful DC 20 Intelligence (Arcana) check 
reveals that the mouth contains a sphere of annihilation 
that can't be controlled or moved. It is otherwise 
identical to a normal sphere of annihilation, as 
described in chapter 7, "Treasure," 

Some versions of the trap include an enchantment 
placed on the stone face, such that specified creatures 
feel an overwhelming urge to approach it and crawl 
inside its mouth* This effect is otherwise like the 
sympathy aspect of the antipathy/sympathy spell, 

A successful dispel magic (DC 18) removes this 
enchantment* 

























r 


Chapter 6: Between Adventures 


CAMPAIGN IS MUCH MORE THAN A SERIES OF 

adventures. It also includes the moments 
between them—the various distractions and 
side pursuits that engage the characters 
when they Ye not exploring the wilderness, 
plundering dungeons, and gallivanting 
around the multiverse on some epic quest* 

The natural pace of a campaign offers lulls between 
adventures, time for the characters to spend their 
treasure and pursue their goals. This downtime gives 
the characters an opportunity to sink their roots a little 
deeper into the world, building a personal investment 
in what happens to the people and places around them, 
which can t in turn, draw them into further adventures. 

Chapter 5, "Equipment/' of the Player's Handbook 
details the expenses that a character incurs for 
basic necessities, depending on the lifestyle the 
character chooses, from poverty to luxury. Chapter 
8. “Adventuring,” of that book describes some of 
the downtime activities they can pursue between 
adventures. This chapter fills in the gaps, describing 
ihe expenses of owning property and hiring NPCs, and 
a variety of additional downtime activities characters 
can pursue. The beginning of the chapter also offers 
suggestions for linking adventures together and keeping 
track of events in your campaign. 

Linking Adventures 

A campaign in the style of an episodic television show 
rarely needs story links between its adventures. Each 
adventure features its own villains, and once the 
characters complete the adventure, there are typically 
no loose plot threads. The next adventure presents 
an altogether different challenge having nothing to do 
with the adventure that preceded it. As the characters 
gain experience points, they become more powerful, 
as do the threats they must overcome. This kind of 
campaign is easy to run, since it requires little effort 
beyond finding or creating adventures appropriate for 
the party’s level. 

A campaign with a narrative lets the players feel as 
though their actions have far-reaching consequences. 
They're not just racking up experience points. A few- 
simple modifications can help you overlay overarching 
elements to create a serialized campaign in which early 
adventures help set up later ones. 

Using a n Overarching Story 

This section presents a couple of examples of 
overarching stories which have, over the years, fueled 
many classic D&D campaigns. 

The adventurers’ goal in the first example is to amass 
the power they need to defeat a powerful enemy that 
threatens the world. Their goal in the second example 
is to defend something they care about by destroying 
whatever threatens it The two examples are, in effect, 
the same story (variations of the battle between good 
and evil) told in different ways. 


Example 1: The Quest of Many Parts 

You can tie adventures together using an overarching 
goal that can be fulfilled only by firs! completing a series 
of related quests. For example, you could create a villain 
who can t be defeated until the characters explore nine 
dungeons in which the Nine Dread Princes reside, with 
each of these dungeons stocked with enough monsters 
and hazards to advance the adventurers two or three 
levels. The adventurers spend their whole careers 
fighting the Nine Dread Princes before finally pursuing 
an epic quest to destroy the princes' monstrous 
progenitor As long as every dungeon is unique and 
interesting, your players will appreciate the tight focus 
of the campaign. 

In a similar type of quest campaign, the adventurers 
might need to collect fragments of an artifact that 
are scattered in ruins across the multiverse, before 
reassembling the artifact and using it to defeat a 
cosmic threat. 

Example 2 : Agents of X 
You can also build a campaign around the idea that 
the adventurers are agents of something larger than 
themselves—a kingdom or secret organization, for 
example. Wherever their allegiance lies, the adventurers 
are motivated by loyalty and the goal of protecting 
whatever it is they serve. 

The characters’ overarching mission might be to 
explore and map an uncharted region, forging alliances 
where they can and overcoming threats they encounter 
along the way. Their goal might be to find the ancient 
capital of a fallen empire, which lies beyond the realm 
of a known enemy and forces them to navigate hostile 
territory. The characters could be pilgrims in search 
of a holy site or members of a secret order dedicated 
to defending the last bastions of civilization in an ever- 
declining world. Or they might be spies and assassins, 
striving to weaken an enemy country by targeting its evil 
leaders and plundering its treasures. 

Planting Adve nture Seeds _ 

You can make a campaign feel like one story with many 
chapters by planting the seeds of the next adventure 
before the current one is finished. This technique can 
naturally moves the characters along to their next goal. 

If you’ve planted a seed well, the characters have 
something else to do when they finish an adventure. 
Perhaps a character drinks from a magic fountain in a 
dungeon and receives a mystifying vision that leads to 
the next quest. The party might find a cryptic map or 
relic that, once its meaning or purpose is determined, 
points to a new destination. Perhaps an NPC warns 
the characters of impending danger or implores 
them for help. 

The trick is to not distract the characters from the 
adventure at hand. Designing an effective hook for a 
future adventure requires finesse. The lure should be 
compelling, but not so irresistible that the players stop 
caring about what their characters are doing right now. 



CHAPTER 6 


a ETW E EN A DV E NTU R ES 











To keep players from straying, save your best ideas for 
the very end of your adventures, or insert them during 
periods of downtime. 

Here are a few examples of ways in which an 
adventure seed can be revealed: 

* On a villain’s corpse, the characters find evidence that 
the villain was working for someone else. 

* A captured NPC reveals the location of someone or 
something that might interest the characters, 

* The characters are heading to a local tavern when 
they spot a wanted poster or a missing person poster 
(complete with the promise of a sizable reward), 

* Members of the local militia or city watch put out the 
word that a crime has been committed, and they’re 
looking for potential witnesses and suspects, 

* The characters receive an anonymous letter that 
sheds light on a plot or impending event of which they 
were previously unaware. 

Foreshadowing _ 

f oreshadowing is an exercise in subtlety, involving the 
delicate planting of seeds for future adventures. Mot all 
foreshadowing bears fruit, particularly if the clues are 
too subtle or if events conspire to take your campaign 
in a new direction. The goal of foreshadowing is to hint 
at upcoming events and new threats in your campaign 
without making it obvious to players that you’re telling 
them what the future holds. Here are a few examples: 

- An object worn or carried by an enemy has the symbol 
of a previously unknown organization engraved or 
written on it. 

* A mad woman standing on a street corner spouts 
fragments of an ancient prophecy, while pointing a 
crooked finger at the characters, 

* The king and queen announce the marriage of their 
son to the daughter of a neighboring monarch, but 
various factions oppose the union. Trouble is brewing. 

- Bugbear scouts are making incursions into civilized 
lands and spying on settlements, as a prelude to a 
hobgoblin warlord's invasion, 

* A puppet show in a market square predicts a tragic 
outcome if two noble houses on the cusp of declaring 
war on each other refuse to reconcile, 

* NPC adventurers in a city are being murdered in a 
similar yet unusual man ner, hinting at a future threat 
to the pi aye r ch a rae te r s. 

Campaign Tracking 

Consistent details bring your campaign to life, and 
continuity helps players imagine that their characters 
are living in a real world. If the adventurers frequent 
a particular tavern, the staff, layout of die building, 
and decor shouldn't change much from one visit to the 
next. Hi at said, changes can occur as a result of the 
characters' actions or of actions t hey learn about. When 
the adventurers kill a monster, it stays dead, unless 
someone raises it. When they remove treasure from 
a room, it doesn’t reappear the next time they enter- 
assuming It hasn’t been stolen from them! If they leave a 
door open, it should stay open until someone closes it. 


CHAPTER 6 ' BETWEEN ADVENTURES 


No one's memory is infallible, so it pays to keep 
records. Jot notes directly on an adventure map to 
keep track of open doors, disarmed traps, and the like, 
Events beyond the scope of a single adventure are besr 
recorded in a notebook dedicated to your campaign. 
Whether it's a physical book or an electronic file* such . 
record is a great way to keep your notes organized. 

Vo u r n oteboo k m i gh t i nclude a ny of t he 
following elements. 

Campaign Planner ; Write down the main story arc 
your campaign, and keep track of things that you hope 
appear in future adventures. Update it as the campau 
develops, adding ideas as they come to you. 

Character Notes, Write down the characters* 
backgrounds and goals, since these notes can help you 
design adventure content that provides opportunitiesrod 
eh a r ac te r de vel o p m e n t. 

Keep a running tally of the adventurers’ classes and 
levels, as well as any quests and downtime activities 
they’re engaged in. 

If the characters have a ship or stronghold, record it' 
name and whereabouts, as well as any hirelings in the 
characters’ employ. 

Player Handouts, Keep a copy of all handouts 
you make for your players so that you don’t have to 
remember their contents later. 

Adventure Log* Think of this log as an episode guide 
for your campaign. Summarize each game session 
or adventure to help you keep track of the unfolding 
campaign story. You can give your players access to this 
log as well, or to an edited version stripped of your notes 
and secrets. (The players might also keep their own 
record of adventures, w hich you can refer to if your owd 
log is incomplete,) 

NPC Notes* Record statistics and roleplaying notes 
for any NPC the characters interact with more than 
once. For example, your notes might differentiate 
important people In a town by their different voices, 
as well as their names, the places where they live 
and work, the names of their family members and 
associates, and maybe even a secret that each one 
of them has. 

Campaign Calendar. Your world feels more real to 
your players when the characters notice the passage of 
time. Note details such as the change of seasons and 
major holidays, and keep track of any important events 
that affect the larger story. 

Toolbox . Keep notes whenever you create or 
significantly alter a monster, magic item, or trap. Keep 
any maps, random dungeons, or encounters you create 
This information ensures you won’t repeat your w r ork. 
and you'll be able to draw T on this material later. 

Recurring Expenses 

Besides the expenses associated with maintaining a 
particular lifestyle, adventurers might have additional 
drains on their adventuring income. Player characters 
who come into possession of property, own businesses 
and employ hirelings must cover the expenses that 
accompany these ventures. 









Total Cost 

Skilled 

Untrained 

"-operty 

per Day 

Hirelings 

Hirelings 

-rbey 

20 gp 

5 

25 

: ITU 

5 sp 

1 

2 

I u dhal! r town or city 

5gp 

5 

3 

n rural roadside 

10 gp 

5 

10 

nn town or city 

5 gp 

1 

5 

1 iro or small castle 

100 gp 

50 

50 

:ge, hunting 

5 sp 

1 

—- 

Noble estate 

10 gp 

3 

15 

Z -.post or fort 

50 gp 

20 

40 

. ace or large castle 

400 gp 

200 

TOO 

S *op 

2gp 

1 

— 

"emple, large 

25 gp 

10 

10 

"rTiple, small 

1 gP 

2 

— 

- awer T fortified 

25 gp 

TO 

-— 

fading post 

10 gp 

4 

2 


;■ 5 not unusual for adventurers—especially after 10th 
Hdefto gain possession of a castle, a tavern, or another 
c:ece of property. They might buy it with their hard-won 
■ \ take it by force, obtain it in a lucky draw from a 
: :k of many things, or acquire it by other means. 

The Maintenance Costs table shows the per-day 
Lpkeep cost for any such property. (The cost of a 
Drrmal residence isn't included here because it falls 

. Pr lifestyle expenses, as discussed in the Player’s 

Handbook.) Maintenance expenses need to be paid 
very 30 days. Given that adventurers spend much of 
iv- ir time adventuring, staff includes a steward who can 
-r. i ke payments in the party's absence. 

Total Cost per Day, The cost includes everything it 
kes to maintain the property and keep things running 
- moothly, including the salaries of hirelings. If the 
; ~ perty earns money that can offset maintenance costs 
|by charging fees, collecting tithes or donations, or 
- iing goods), that is taken into account in the table. 
Skilled and Untrained Hirelings* The Player “s 
Handbook explains the difference between a skilled 
ireling and an untrained one. 


Businesses 

An adventurer-owned business can earn enough money 
. cover its own maintenance costs. However, the 
.vner needs to periodically ensure that everything is 
-.mning smoothly by tending to the business between 
Jventures. See the information on running a business 
he 'Downtime Activities 1 " section of this chapter 


Garrisons 

sties and keeps employ soldiers (use the veteran 
and guard statistics in the Monster Manual) to defend 
em. Roadside inns, outposts and forts, palaces, and 

• in pies rely on less-experienced defenders (use the 

, :ard statistics in the Monster Manual), i hese armed 
. ; rriors make up the bulk of a property's skilled 

* relings. 


The campaign benefits when characters have time 
between adventures to engage in other activities. 
Allowing days, weeks, or months to pass between 
adventures stretches the campaign over a longer period 
of ti me and helps to manage the characters' level 
progression, preventing them from gaining too much 
power too quickly. 

Allowing characters to pursue side interests between 
adventures also encourages players to become more 
invested in the campaign world. When a character owns 
a tavern in a village or spends time carousing with the 
locals, that characters player is more likely to respond 
to threats to the village and its inhabitants. 

As your campaign progresses, your players 
characters will not only become more powerful but also 
more influential and invested in the world. They might 
he inclined to undertake projects that require more time 
between adventures, such as building and maintaining a 
stronghold. As the party gains levels, you can add more 
downtime between adventures to give characters the 
time they need to pursue such interests. Whereas days 
or weeks might pass between low-level adventures, the 
amount of downtime between higher-level adventures 
might be measured in months or years. 


Maintenance Costs 


Downtime Activities 


CHA PT E R (j \ E El' W E E N A D V EN1 UR I. S 


127 












More Downtime Activities 


Chapter S T “Adventuring/’ of the Play ers Handbook 
describes a few downtime activities to fill the void 
between adventures. Depending on the style of your 
campaign and the particular backgrounds and interests 
of the adventurers, you can make some or all of the 
following additional activities available as options. 

Building a Stronghold 

A character can spend time between adventures 
building a stronghold. Before work can begin, the 
character must acquire a plot of land. If the estate lies 
within a kingdom or similar domain, the character 
will need a royal charter (a legal document granting 
permission to oversee the estate in the name of the 
crown), a land grant (a legal document bequeathing 
custody of the land to the character for as long as he 
or she remains loyal to the crown), or a deed (a legal 
document that serves as proof of ownership). Land can 
also be acquired by inheritance or other means. 

Royal charters and land grants are usually given by 
the crown as a reward for faithful service, although they 
can also be bought. Deeds can be bought or inherited. A 
small estate might sell for as little as 100 gp or as much 
as 1,000 gp. A large estate might cost 5,000 gp or more, 
if it can be bought at all. 

Once the estate is secured, a character needs access 
to building materials and laborers. The Building 
a Stronghold table shows the cost of building the 
stronghold (including materials and labor) and the 
amount of time it takes, provided that the character 
is using downtime to oversee construction. Work can 
continue while the character is away, but each day the 
character is away adds 3 days to the construction time. 

Building a Stronghold 



Construction 

Construction 

Stronghold 

Cost 

Time 

Abbey 

50,000 gp 

400 days 

Guildhall, town or city 

5,000 gp 

60 days 

Keep or small castle 

50,000 gp 

400 days 

Noble estate with manor 

25,000 gp 

150 days 

Outpost or fort 

15,000 gp 

100 days 

Palace or large castle 

500,000 gp 

1,200 days 

Temple 

50,000 gp 

400 days 

Tower, fortified 

15,000 gp 

100 days 

Trading post 

5,000 gp 

60 days 


Carousing 

Characters can spend their downtime engaged in a 
variety of hedonistic activities such as attending parties, 
binge drinking, gambling, or anything else that helps 
them cope with the perils they face on their adventures. 

A carousing character spends money as though 
maintaining a wealthy lifestyle (see chapter 5, 
“Equipment," of the Players Handbook). At the end of 
the period spent carousing, the player rolls percentile 
dice and adds the character s level, then compares the 
total to the Carousing table to determine what happens 
to the character, or you choose. 

* *ij : > ii A nrfifi 

,, 

CHAPTER 6 I BETWEEN ADVENTURES 


Carols sc 

rflOO - Level Result 

‘ -T You are ;ailec V J i= s at the end of the 
downtime per cd on charges of disorderly 
conduct a r ' c : slurb rg :ne peace. You ca" 
a fine of 10 gp to avoid jail time, or you can 
to resist arrest, 

11-20 You regain consciousness in a strange place 

with no memory of how you got there, and ■: - 
have been robbed of 3d6 x 5 gp. 

21-30 You make an enemy. This person, business, 
or organization is now hostile to you. The DM 
determines the offended party. You decide 
how you offended them. 

31-40 You are caught up in a whirlwind romance. 

Roll a d2Q. On a 1-5, the romance ends bac v. 
On a 6-10, the romance ends amicably. On a" 
11-20, the romance is ongoing. You determine 
the identity of the love interest, subject to 
your DfVTs approval. If the romance ends 
badly, you might gain a new flaw. If it ends we 
or is ongoing, your new love interest might 
represent a new bond, 

41-SO You earn modest winnings from gambling ar c 

recuperate your lifestyle expenses for the time 
spent carousing. 

Si-90 You earn modest winnings from gambling. 

You recuperate your lifestyle expenses for the 
time spent carousing and gain ld2Q x 4 gp, 

91 or higher You make a small fortune gambling. You 

recuperate your lifestyle expenses for the time 
spent carousing and gain 4d6 x 10 gp. Your 
carousing becomes the stuff of local legend. 

Crafting a Magic Item 

Magic items are the DM’s purview, so you decide how 
they fall into the party's possession. As an option, you 
can allow' player characters to craft magic items. 

The creation of a magic item is a lengthy, expensive 
task. To start, a character must have a formula that 
describes the construction of the item* The character 
must also be a spelicaster with spell slots and must 
be able to cast any spells that the item can produce* 
Moreover, the character must meet a level minimum 
determined by the item’s rarity, as shown in the Crafting 
Magic Items table. For example, a 3rd-level character 
could create a wand of magic missiles (an uncommon 
item), as long as the character has spell slots and can 















cast magic missile , That same character could make 
a +1 weapon (another uncommon item), no particular 
spell required. 

You can decide that certain items also require special 
materials or locations to be created. For example, a 
character might need alchemist’s supplies to brew a 
particular potion, or the formula for a flame tongue 
might require that the weapon be forged with lava. 

Grafting Magic Items 


Item Rarity 

Creation Cost 

Minimum Level 

Common 

100 gp 

3rd 

Uncommon 

500 gp 

3rd 

Rare 

5,000 gp 

6th 

, ery rare 

50,000 gp 

11th 

,egendary 

500,000 gp 

17th 


An item has a creation cost specified in the Crafting 
Magic items table, A character engaged in the crafting 
i a magic item makes progress in 25 gp increments, 
spending that amount for each day of work until the 

■ otal cost is paid. The character is assumed to work for 8 

■ juts each of those days. Thus, creating an uncommon 
magic item takes 20 days and 500 gp. You are free to 

a iiusr the costs to better suit your campaign. 

If a spell will be produced by the item being created, 
■he creator must expend one spell slot of the spell's 
level for each day of the creation process. The spell’s 
aterial components must also be at hand throughout 
: e process. If the spell normally consumes those 

mponents, they are consumed by the creation process, 
:be item will be able to produce the spell only once, as 
m hi a spell scroll* the components are consumed only 
nee by the process. Otherwise, the components are 
: nsumed once each day of the item’s creation. 

Multiple characters can combine their efforts to 
r --ate a magic item if each of them meets the level 
- - requisite. Each character can contribute spells, spell 
i. ms. and components, as long as everyone participates 
curing the entire crafting process. Each character 
=n contribute 25 gp worth of effort for each day spent 
helping to craft the item. 

Normally, a character who undertakes this activity 
t r-faies a magic item described in chapter 7, “Treasure. ” 
your discretion, you can allow players to design their 
n magic items* using the guidelines in chapter 9, 

I l jngeon Master's Workshop.” 

While crafting a magic item, a character can maintain 
i modest lifestyle without having to pay the I gp per dav, 
cr : comfortable lifestyle at half the normal cost (see 
, ter 5, “Equipment,” of the Player's Handbook ), 

Gaining Renown 

iracter can spend downtime improving his or 
fc - renown within a particular organization (see 
vn' in chapter 1). Between adventures, a 
■ _■ racier undertakes minor tasks for the organization 
m s ocializes with its members. After pursuing these 
mn dcs for a combined number of days equal to his 
3 r current renown multiplied by 10. the character's 
jpeoown increases by 1, 


Performing Sacred Rites 

A pious character can spend time between adventures 
performing sacred rites in a temple affiliated with a god 
he or she reveres. Between rites, the character spends 
time in meditation and prayer. 

A character who is a priest in the temple can lead 
these rites, which might include weddings, funerals, and 
ordinations. A layperson can offer sacrifices in a temple 
or assist a priest with a rite, 

A character who spends at least 10 days performing 
sacred rites gains inspiration (described in chapter 4 of 
the Players Handbook) at the start of each day for the 
next 2d6 days. 

Running a Business 

Adventurers can end up owning businesses that have 
nothing to do with delving into dungeons or saving the 
world. A character might inherit a smithy, or the party 
might be given a parcel of farmland or a tavern as a 
reward. If they hold on to the business, they might feel 
obliged to spend time between adventures maintaining 
the venture and making sure it runs smoothly. 

A character rolls percentile dice and adds the number 
of days spent on this downtime activity (maximum 30). 
then compares the total to the Running a Business table 
to determine what happens. 

If the character is required to pay a cost as a result 
of rolling on this table but fails to do so, the business 
begins to fail. For each unpaid debt incurred in this 
manner, the character takes a -10 penalty to subsequent 
rolls made on this table. 

Running a Business 

dioo + 

Days Result 

01-20 You must pay one and a halftimes the business's 
maintenance cost for each of the days. 

21-30 You must pay the business's full maintenance 
cost for each of the days. 

31-40 You must pay half the business's maintenance 
cost for each of the days. Profits cover the other 
half. 

41-60 The business covers its own maintenance cost for 
each of the days. 

61-S0 The business covers its own maintenance cost for 
each of the days. It earns a profit of ld6 x 5 gp. 
81-90 The business covers its own maintenance cost for 
each of the days. It earns a profit of 2dS x 5 gp, 

91 or The business covers its own maintenance cost for 
higher each of the days. It earns a profit of 3d 10 x 5 gp. 

Selling Magic Items 

Few people can afford to buy a magic item, and fewer 
still know how to find one. Adventurers are exceptional 
in this regard due to the nature of their profession, 

A character who comes into possession of a common, 
uncommon, rare, or very rare magic item that he or 
she wants to sell can spend downtime searching for a 
buyer. This downtime activity can be performed only in 
a city or another location where one can find wealthy 


CHAPTER § I BETWEEN AL>\ ENTURES 





individuals interested in buying magic items. Legendary 
magic items and priceless artifacts can't be sold during 
downtime. Finding someone to buy such an item can be 
the substance of an adventure or quest. 

For each salable item, the character makes a DC 20 
Intelligence (Investigation) check to find buyers. Another 
character can use his or her downtime to assist with the 
search, granting advantage on the checks. On a failed 
check, no buyer for the item is found after a search that 
lasts 10 days. On a successful check, a buyer for the 
item is found after a number of days based on the items 
rarity, as shown in the Salable Magic Item table. 

A character can attempt to find buyers for multiple 
magic items at once. Although this requires multiple 
Intelligence (Investigation) checks, the searches are 
occurring simultaneously, and the results of multiple 
failures or successes aren't added together. For 
example, if the character finds a buyer for a common 
magic item in 2 days and a buyer for an uncommon item 
in 5 days, but fails to find a buyer for a rare item up for 
grabs, the entire search takes 10 days. 

For each item a character wishes to sell, the player 
rolls percentile dice and consults the Selling a Magic 
Item table, applying a modifier based on the item's 
rarity, as shown in the Salable Magic Items table. The 
character also makes a Charisma (Persuasion) check 
and adds that check's total to the roll. The subsequent 
total determines what a buyer offers to pay for the item. 


You determine a buyer's identity. Buyers sometimes 
procure rare and very rare items through proxies to 
ensure that their identities remain unknown. If the 
buyer is shady, it s up to you whether the sale creates 
legal complications for the party later. 

Salable Magic Items 


Rarity 

Base Price 

Days to 

Find Buyer 

dI00 Roll 
Modifier- 

Common 

100 gp 

ld4 

+10 

Uncommon 

500 gp 

Id 6 

+0 

Rare 

5,000 gp 

IdS 

-10 

Very rare 

50,000 gp 

IdlO 

-20 


* Apply this modifier to rolls on the Selling a Magic Item table 


Selling a Magic !tem 


dl GO + Mod, 

20 Or lower 
21-40 

41-80 

81-90 

91 or higher 


You Find 

A buyer offering a tenth of the base price 
A buyer offering a quarter of the base price, 
and a shady buyer offering half the base price 
A buyer offering half the base price, and a 
shady buyer offering the full base price 
A buyer offering the full base price 
A shady buyer offering one and a half times 
the base price, no questions asked 


CHAPTER 6 | BETWEEN ADVENTURES 

130 




























Sowing Rumors 

Swaying public opinion can be an effective way to bring 
down a villain or elevate a friend. Spreading rumors 
is an efficient, if underhanded, way to accomplish that 
goal. Well-placed rumors can increase the subject’s 
standing in a community or embroil someone in 
scandal. A rumor needs to be simple, concrete, and hard 
:o disprove. An effective rumor also has to be believable, 
playing off what people want to believe about the person 
in question. 

Sowing a rumor about an individual or organization 
requires a number of days depending on the size of the 
community, as shown in the Sowing Rumors table. In a 
town or city, the time spent must be continuous. If the 
haracter spreads a rumor for ten days, disappears on 
m adventure for another few days and then returns, 

:he rumor fades away without the benefit of constant 
repetition. 

Sowing Rumors 

Settlement Size Time Required 

Village 2d6days 

Town 4d6 days 

City 6d6 days 


The character must spend 1 gp per day to cover 
the cost of drinks, social appearances, and the like. 

At the end of the time spent sowing the rumor, the 
haracter must make a DC 15 Charisma (Deception 
c r Persuasion) check. If the check succeeds, the 
community’s prevailing attitude toward the subject shifts 
ne step toward friendly or hostile, as the character 
wishes. If the check fails, the rumor gains no traction, 
-nd further attempts to propagate it fail. 

Shifting a community’s general attitude toward 
2 person or organization doesn't affect everyone in 
-ne community. Individuals might hold to their own 
pinions, particularly if they have personal experience 
in dealing with the subject of the rumors. 

Training to Gain Levels 

As a variant rule, you can require characters to spend 
:owntime training or studying before they gain the 
: *rnefits of a new level. If you choose this option, once a 
c haracter has earned enough experience points to attain 
i new level, he or she must train for a number of days 
: -rfore gaining any class features associated with the 
sew level. 

The training time required depends on the level to be 
gained, as shown on the Training to Gain Levels table. 
The training cost is for the total training time. 


Training to Gain Levels 


Level Attained 
2nd-4th 
5th—1 Oth 
11 th—16th 
17th—20th 


Training Time 
10 days 
20 days 
30 days 
40 days 


Training Cost 

20 gp 

40 gp 

60 gp 
80 gp 


Creating Downtime Activities 

Your players might be interested in pursuing downtime 
activities that aren’t covered in this chapter or in 
the Players Handbook. If you invent new downtime 
activities, remember the following: 


• An activity should never negate the need or desire for 
characters to go on adventures. 

• Activities that have a monetary cost associated with 
them provide opportunities for player characters to 
spend their hard-won treasure. 

• Activities that reveal new adventure hooks and 
previously unknown facts about your campaign can 
help you foreshadow future events and conflicts. 

• For an activity you expect a character to repeat 
with variable degrees of success, consider creating 
a random outcome table, modeled on the ones in 
this chapter. 

• If a character belongs to a class or has a proficiency or 
background that would make him or her well suited 
to a particular activity, consider granting a bonus to 
ability checks made by the character to complete that 
activity successfully. 





CHAPTER 6 | BETWEEN ADVENTURES 






















































Chapter 7: Treasure 

□VENTURERS STRIVE FOR MANY THINGS,, 

including glory, knowledge, and justice. 

Many adventurers also seek something more 
tangible; fortune* Strands of golden chains, 
stacks of platinum coins, bejeweled crowns, 
enameled scepters, bolts of silk cloth, and 
powerful magic items all wait to be seized or unearthed 
by intrepid, treasure-seeking adventurers. 

This chapter details magic items and the placement of 
reasure in an adventure, as well as special rewards that 
an be granted instead of or in addition to magic items 
and mundane treasure. 

Types of Treasure 

Treasure comes in many forms. 

Coins . The most basic type of treasure is money, 
including copper pieces (cp). silver pieces (sp)* electrum 
pieces (ep), gold pieces (gp), and platinum pieces (pp). 
Fifty coins of any type weigh 1 pound. 

Gemstones . Gemstones are small, lightweight, and 
easily secured compared to their same value in coins. 
See the “Gemstones" section for types of stones, gems, 
and jewels that can be found as treasure. 

Art Objects, Idols cast of solid gold, necklaces 
studded with precious stones, paintings of ancient 
kings, bejeweled dishes—art objects include all these 
and more. See the “Art Objects 1 section for types of 
decorative and valuable artworks that can be found 
as treasure* 

Magic Items, Types of magic items include armor, 
potions, scrolls, rings, rods, staffs* wands, weapons, 
and wondrous items. Magic items also have rarities: 
common, uncommon, rare, very rare, and legendary. 

Intelligent monsters often use magic items in their 
possession, while others might hide them away to 
ensure they don’t get lost or stolen. For example, if a 
hobgoblin tribe has a +1 longs word and an alchemy jug 
in its treasure hoard, the tribe’s warlord might wield the 
sword, while the jug is kept somewhere safe* 

Random Treasure 

The following pages contain tables that you can use 
to randomly generate treasures carried by monsters, 
stashed in their lairs, or otherwise hidden away. The 
placement of treasure is left to your discretion. The key 
is to make sure the players feel rewarded for playing, 
and that their characters are rewarded for overcoming 
dangerous challenges. 

Treasure T&kljes _ 

Treasure can be randomly allocated based on a 
monster s challenge rating. There are tables for 
hallenge rating 0-4* challenge rating 5-10, challenge 
rating 11-16. and challenge rating 17 and higher. Use 
these tables to randomly determine how much money 
an individual monster carries (the D&D equivalent of 
pocket change) or the amount of wealth found in a larger 
treasure hoard. 


Using the Individual Treasure Tables 

An I ndividual Treasure table helps you randomly 
determine how much treasure one creature carries on 
its person. If a monster has no interest in amassing 
treasure, you can use this table to determine the 
incidental treasure left behind by the monster’s victims. 

Use the Individual Treasure table that corresponds to 
the monster's challenge rating. Roll a dlOO, and read the 
result across to determine how many coins of each type 
the monster carries* The table also includes the average 
result in parentheses, should you wish to forgo another 
roll and save time. To determine the total amount of 
individual treasure for a group of similar creatures, you 
can save time by rolling once and multiplying the result 
by the number of creatures in the group. 

If it doesn’t make sense for a monster to carry a large 
pile of coins* you can convert the coins into gemstones 
or art objects of equal value. 

Using the Treasure Hoard Tables 

A Treasure Hoard table helps you randomly determine 
the contents of a large cache of treasure, the 
accumulated wealth of a large group of creatures (such 
as an ore tribe or a hobgoblin army)* the belongings of 
a single powerful creature that likes to hoard treasure 
(such as a dragon), or the reward bestowed upon a parLy 
after completing a quest for a benefactor* You can also 
split up a treasure hoard so that the adventurers don't 
find or receive it all at once* 

When determining the contents of a hoard belonging 
to one monster, use the table that corresponds to that 
monster s challenge rating. When rolling to determine a 
treasure hoard belonging to a large group of monsters, 
use the challenge rating of the monster that leads the 
group. If the hoard belongs to no one, use the challenge 
rating of the monster that presides over the dungeon 
or lair you are stocking. If the hoard is a gift from a 
benefactor, use the challenge rating equal to the party’s 
average level. 

Every treasure hoard contains a random number of 
coins, as shown at the top of each table. Roll a dlOO and 
consult the table to determine how many gemstones or 
art objects the hoard contains, if any* Use the same roll 
to determine whether the hoard contains magic items* 

As with the individual treasure tables, average values 
are given in parentheses. You can use an average value 
instead of rolling dice to save time. 

If a treasure hoard seems too small, you can roll 
multiple times on the table. Use this approach for 
monsters that are particularly fond of amassing 
treasure, Legendary creatures that accumulate treasure 
are wealthier than normal. Always roll at least twice on 
the appropriate table and add the results together* 

You can hand out as much or as little treasure as you 
want. Over the course of a typical campaign, a party 
finds treasure hoards amounting to seven rolls on the 
Challenge 0 4 table, eighteen rolls on the Challenge 
5-10 table, twelve rolls on the Challenge 11-16 table, 
and eight rolls on the Challenge 17+ table* 



CHAPTER 7 ] TREASURE 


V 










Gemstones 

If a treasure hoard Includes gemstones, you can use 
the following tables to randomly determine the kind 
of gemstones found, based on their value. You can roll 
once and assume all the gems are the same, or roll 
multiple times to create mixed collections of gemstones. 

10 cp Gemstones 

d!2 Stone Description 

1 Azurite (opaque mottled deep blue) 

2 Banded agate (translucent striped brown, blue, 
white, or red) 

3 Blue quartz (transparent pale blue) 

4 Eye agate (translucent circles of gray, white, brown, 
blue, or green) 

5 Hematite (opaque gray-black) 

6 Lapis lazuli (opaque light and dark blue with yellow 
flecks) 

7 Malachite (opaque striated light and dark green) 

£ Mos5 agate (translucent pink or yellow-white with 

mossy gray or green markings) 

9 Obsidian (opaque black) 

10 Rhodochrosite (opaque light pink) 

11 Tiger eye (translucent brown with golden center) 

12 Turquoise (opaque light blue-green) 

50 gp Gemstones 

d!2 Stone Description 

1 Bloodstone (opaque dark gray with red flecks) 

2 Carnelian (opaque orange to red-brown) 

3 Chalcedony (opaque white) 

4 Chrysoprase (translucent green) 

5 Citrine (tra nsparent pale yelIow-brown) 

6 Jasper (opaque blue, black, or brown) 

7 Moonstone (translucent white with pale blue glow) 

£ Onyx (opaque bands of black and white, or pure 

black or white) 

9 Quartz (transparent white, smoky gray, or yellow) 

10 Sardonyx (opaque bands of red and white) 

11 Star rose quartz (translucent rosy stone with white 
star-shaped center) 

12 Zircon (transparent pale blue-green) 

100 gp Gemstones 

dIO Stone Description 

1 Amber (transparent watery gold to rich gold) 

2 Amethyst (transparent deep purple) 

3 Chrysoberyl (transparent yellow-green to pale 

green) 

4 Coral (opaque crimson) 

5 Carnet (transparent red, brown-green, or violet) 

6 jade (translucent light green, deep green, or white) 

7 jet (opaque deep black) 

£ Pear! (opaque lustrous white, yellow., or pink) 

9 Spinel (transparent red, red-brown, or deep green) 

10 Tourmaline (transparent pale green, blue, brown, 
or red) 


500 cp Gemstones 


d6 

Stone Description 

1 

Alexandrite (transparent dark green) 

2 

Aquamarine (transparent pale blue-green) 

3 

Black pearl (opaque pure black) 

4 

Blue spinel (transparent deep blue) 

5 

Peridot (transparent rich olive green) 

6 

Topaz (transparent golden yellow) 

1,000 gp Gemstones 

ds 

Stone Description 

i 

Black opal (translucent dark green with black 
mottling and golden flecks) 

2 

Blue sapphire (transparent blue-white to medium 
blue) 

3 

Emerald (transparent deep bright green) 

4 

Fire opal (translucent fiery red) 

S 

Opal (translucent pale blue with green and golden 

mottling] 

6 

Star ruby (translucent ruby with white star-shapec 
center) 

7 

Star sapphire (translucent blue sapphire with whits 
star-shaped center) 

S 

Yellow sapphire (transparent fiery yellow or yellow- 
green) 

5,000 cp Gemstones 

d4 

Stone Description 

l 

Black sapphire (translucent lustrous black with 

1 ■ | - { ■ -i | f. 


glowing highlights) 

2 

Diamond (transparent blue-white, canary, pink, 
brown, or blue) 

3 

Jacinth (transparent fiery orange) 

4 

Ruby (transparent dear red to deep crimson) 


Art Objects 

If a treasure hoard includes art objects, you can use the 
following tables to randomly determine what art objects 
are found, based on their value. Roll on a table as many 
times as there are art objects in the treasure hoard* 
There can be more than one of a given art object. 

25 gp Art Objects 

d!0 Object 

1 Silver ewer 

2 Carved bone statuette 

3 Small gold bracelet 

4 Cloth-of-gold vestments 

5 Black velvet mask stitched with silver thread 

6 Copper chalice with silver filigree 

7 Pair of engraved bone dice 

8 Small mirror set in a painted wooden frame 

9 Embroidered silk handkerchief 

10 Gold locket with a painted portrait inside 


CHAPTER 7 i TREASURE 












250 gp Art Objects 

dlO Object 

1 Gold ring set with bloodstones 

2 Carved ivory statuette 

3 Large gold bracelet 

4 Silver necklace with a gemstone pendant 

5 Bronze crown 

6 Silk robe with gold embroidery 

7 Large well-made tapestry 

3 Brass mug with jade inlay 

9 Box of turquoise animal figurines 

10 Gold bird cage with eiectrum filigree 

750 gp Art Objects 

dlO Object 

1 Silver chalice set with moonstones 

2 Silver-plated steel longsword with jet set in hilt 

3 Carved harp of exotic wood with ivory inlay and 
zircon gems 

4 Small gold idol 

5 Gold dragon comb set with red garnets as eyes 

6 Bottle stopper cork embossed with gold leaf and 
set with amethysts 

7 Ceremonial eiectrum dagger with a black pearl in 
the pommel 

S Silver and gold brooch 

9 Obsidian statuette with gold fittings and inlay 

10 Painted gold war mask 

2.500 gp Art Objects 
dio object 

1 Fine gold chain set with a fire opal 

2 Old masterpiece painting 

3 Embroidered silk and velvet mantle set with 
numerous moonstones 

4 Platinum bracelet set with a sapphire 

5 Embroidered glove set with jewel chips 

6 Jeweled anklet 

7 Gold music box 

3 Gold circlet set with four aquamarines 

9 Eye patch with a mock eye set in blue sapphire and 
moonstone 

10 A necklace string of smalt pink pearls 

\S00 gp Art Objects 

dS Object 

1 Jeweled gold crown 

2 Jeweled platinum ring 

3 Small gold statuette set with rubies 

4 Gold cup set with emeralds 

5 Gold jewelry box with platinum filigree 

6 Painted gold child’s sarcophagus 

7 Jade game board with solid gold playing pieces 
S Bejeweled ivory drinking horn with gold filigree 


Magic Items 

Magic items are gleaned from the hoards of conquered 
monsters or discovered in long-lost vaults. Such 
items grant capabilities a character could rarely 
have otherwise, or they complement their owners 
capabilities in wondrous ways. 

Rarity 

Each magic item has a rarity: common, uncommon, 
rare, very rare, or legendary. Common magic items, 
such as a potion of healing, are the most plentiful. Some 
legendary items, such as the apparatus ofKwalish, are 
unique. The game assumes that the secrets of creating 
the most powerful items arose centuries ago and were 
then gradually lost as a result of wars, cataclysms, and 
mishaps. Even uncommon items can’t be easily created. 
Thus, many magic items are well-preserved antiquities. 

Rarity provides a rough measure of an item s power 
relative to other magic items. Each rarity corresponds 
to character level, as shown in the Magic Item Rarity 
table, A character doesn't typically find a rare magic 
item, for example, until around 5th level. That said, 
rarity shouldn’t get in the way of your campaign’s story. 

If you want a ring of invisibility to fall into the hands of 
a 1 st-level character, so be it. No doubt a great story will 
arise from that event. 

If your campaign allows for trade in magic items, 
rarity can also help you set prices for them. As the DM, 
you determine the value of an individual magic item 
based on its rarity. Suggested values are provided in 
the Magic Item Rarity table. The value of a consumable 
item, such as a potion or scroll, is typically half the value 
of a permanent item of the same rarity. 

Magic Item Rarity 

Rarity Character Level 

Common 1st or higher 

Uncommon 1st or higher 

Rare Sth or higher 

Very rare 11th or higher 

Legendary 17th or higher 

Buying and Selling 

Unless you decide your campaign works otherwise, 
most magic items are so rare that they aren't available 
for purchase. Common items, such as a potion of 
healing, can be procured from an alchemist, herbalist, 
or spellcaster. Doing so is rarely as simple as walking 
into a shop and selecting an Item from a shelf. The seller 
might ask for a service, rather than coin. 

In a large city with an academy of magic or a major 
temple, buying and selling magic items might be 
possible, at your discretion. If your world includes a 
large number of adventurers engaged in retrieving 
ancient magic items, trade in these items might be more 
common. Even so, it’s likely to remain similar to the 
market for line art in the real world, with invitation-only 
auctions and a tendency to attract thieves. 

Selling magic items is difficult in most D&D worlds 
primarily because of the challenge of finding a buyer. 


Value 

50-100 gp 
101-500 gp 
501-5,000 gp 
5,001-50^000 gp 
50,001+ gp 


CHAPTER 7 I TREASURE 









Plenty of people might like to have a magic sword, but 
few of them can afford it. Those who can afford such an 
item usually have more practical things to spend on. See 
chapter 6, 11 Between Adventures," for one way to handle 
selling magic items. 

In your campaign, magic items might be prevalent 
enough that adventurers can buy and sell them with 
some effort. Magic items might be for sale in bazaars or 
auction houses in fantastical locations, such as the City 
of Brass, the planar metropolis of Sigil, or even in more 
ordinary cities. Sale of magic items might be highly 
regulated, accompanied by a thriving black market. 
Artificers might craft items for use by military forces 
or adventurers, as they do in the world of Eberron. You 
might also allow characters to craft their own magic 
items, as discussed in chapters 6. 

Identifying a Magic Item 

Some magic items are indistinguishable from their 
non magical counterparts, whereas other magic items 
display their magical nature conspicuously. Whatever a 
magic item’s appearance, handling the item is enough to 
give a character a sense that something is extraordinary 
about it Discovering a magic item’s properties isn + l 
automatic, however. 

The identify spell is the fastest way to reveal an 
item’s properties. Alternatively, a character can focus 
on one magic item during a short rest, while being in 


physical contact with the item. At the end of the rest, the 
character learns the item's properties, as well as how 
to use them. Potions are an exception; a little taste is 
enough to tell the taster what the potion does. 
Sometimes a magic item carries a due to its 
properties. The command word to activate a ring might 
be etched in tiny letters inside it. or a feathered design 
might suggest that its a ring of feather falling. 

Wearing or experimenting with an item can also ofit r 
hints about its properties. For example, if a character 
puts on a ring of jumping, you could say. L+ Your steps fee; 
strangely springy. 1 ’ Perhaps the character then jumps 
up and down to see what happens. You then say the 
character jumps unexpectedly high. 

Variant; More Difficult Identification 

If you prefer magic items to have a greater mystique, 
consider removing the ability to identify the properties 
of a magic item during a short rest, and require the 
identify spell, experimentation, or both to reveal what a 
magic item does. 

Attunement _ 

Some magic items require a creature to form a bond 
with them before their magical properties can be used. 
This bond is called attunement, and certain items 
have a prerequisite for it. If the prerequisite is a class, 
a creature must be a member of that class to attune to 
the item. (If the class is a spellcasting class, a monster 


Individual Treasure: Challenge 0-4 


dlOO 

CP 

SP 

EP 

GP 

PP 

01-30 

566 (17) 

— 

-- 

—- 

— 

31-60 

— 

4d6 (14) 

— 

— 

— 

61-70 

— 


3d6 (10) 

— 

— 

71-95 

-- 

— 

--- 

3d6 (10) 

— 

96-00 

— 

— 

— 1 

-—- 

Id6 (3) 

Individual Treasure: 

Challenge 5-10 




6100 CP 

m AA& v inn n 

SP 

EP 

IJC v I? C\ 

GP 

PP 

U 1 *t u u X 1 UU i 1 ^UUj 

31-60 — 

6 d6x 10 (210) 

I OD X 1U | JT] 

2d6 x 10 (70) 

— 

61-70 

— 

— 

3 d6x 10 (105) 

266 x 10 (70) 

—- 

71-95 

— 

—_ 

— 

4d6x 10 (140) 

— 

96-00 

— 

— 

— 

266 x 10 (70) 

3d6 (10) 

Individual Treasure: 

Challenge 11-16 




dlOO 

CP 

SP 

EP 

CP 

PP 

01-20 

— 

4d6x 100 (1,400) 

■—- 

ld6x 100 (350) 

— 

21-35 

—■ 

— 

166 x 100 (350) 

ld6x 100 (350) 


36-75 

76-00 

— 

-—■ 

-- 

2d6 x 100 (700) 

2d6 x 100 (700) 

1 d6 x 10 (35) 

2d 6 x 10 (70) 

Individual Treasure: 

Challenge 17+ 




6100 

CP 

SP 

EP 

GP 

PP 

01-15 

— 

—_ 

266 x 1,000 (7,000) 

Sd6x 100 (2,800) 

—■ 

16-55 

“ 

—— 

■- 

ld6x 1,000 ( 3,500) 

ld6 x 100 (350) 

56-00 

— 

-— 

— 

ld6 x 1,000 (3,500) 

2d6 x 100 ( 700) 


CHAPTER 7 I TREASURE 






















Treasure Hoard: Challenge 0-4 



CP 

SP EP 

GP 

Coins 

6 d6 x 100 (2,100) 3d6 x 

100 (TQS0) — 2d6 

x10 (70 

dl 00 

Gems or Art Objects 

Magic Items 


01-06 

— 

—- 


07-16 

2d6 (7) 10 gp gems 

■ — 


17-26 

2d4 (5) 25 gp art objects 



27-36 

2d6 (7) 50 gp gems 

—- 


37-44 

2d6 (7) 10 gp gems 

Roll IdG times on Magic Item Table A. 


45-52 

2d4 (5) 25 gp art objects 

Roll IdG times on Magic Item Table A. 


03—bU 

61-65 

/Ob ou gp gems 

2 d6 (7) 10 gp gems 

koii Lao Limes on jviagic nem iaDie 

Roll 1d4 times on Magic Item Table B. 


66-70 

2d4 (5) 25 gp art objects 

Roll 1 d4 times on Magic Item Table B. 


71-75 

2d6 (7) 50 gp gems 

RoJ! 1 d4 times on Magic Item Table B. 


76-78 

2d6 (7) 10 gp gems 

Roll 1 d4 times on Magic Item Table C 


79-80 

2d4 (5) 25 gp art objects 

Roll 1 d4 times on Magic Item Table C 


81-85 

2 d6 (7) 50 gp gems 

Roll ld4 times on Magic Item Table C. 


86-92 

2d4 (5) 25 gp art objects 

Roll 1 d4 times on Magic Item Table F. 


93-97 

2d6 (7) 50 gp gems 

Roll 1 d-4 times on Magic Item Table R 


98-99 

2d4 (5) 25 gp art objects 

Roll once on Magic Item Table G. 


00 

2 d6 (7) 50 gp gems 

Roll once on Magic Item Table G. 



pp 


Treasure Hoard: Challenge 5-10 

CP SP EP CP pp 

Coins 2d6 x 100 (700) 2d6 x l h 000 (7,000) — 666 x 100 (2,100) 3d6xl0(105) 


d 100 

Gems or Art Objects 

Magic Items 

01-04 

— 

— 

05-10 

2 d4 (5) 25 gp art objects 

— 

11-16 

3d6 (10) 50 gp gems 

— 

17-22 

3 d6 (10) 100 gp gems 

— 

23-28 

2d4 (5) 250 gp art objects 

— 

29-32 

2d4 (5) 25 gp art objects 

Roll ld6 times on Magic Item Table A. 



Roll ld6 times on Magic Item Table A. 

Roll ld6 times on Magic Item Table A, 

37-40 

Jdo (1 UJ jU gp ge ms 

3d6 (10) 100 gp gems 

41-44 

2d4 (5) 250 gp art objects 

Roll IdS times on Magic Item Table A, 

45-49 

2d4 (5) 25 gp art objects 

Roll ld4 times on Magic Item Table B, 

50-54 

3d6 (10) 50 gp gems 

Roil ld4 times on Magic Item Table B. 

55-59 

3d6 (10) 100 gp gems 

Roll ld4 times on Magic Item Table B, 

60-63 

2d4 (5) 250 gp art objects 

Roil ld4 times on Magic Item Table B. 

64-66 

2d4 (5) 25 gp art objects 

Roll ld4 times on Magic Item Table C. 

67-69 

3d6 (10) 50 gp gems 

Roll ld4 times on Magic Item Table C 

70-72 

3d6 (10) 100 gp gems 

Roll ld4 times on Magic Item Table C. 

73-74 

2d4 (5) 250 gp art objects 

Roll ld4 times on Magic Item Table C 

75-76 

2d4 (5) 25 gp art objects 

Roll once on Magic Item Table D. 

77-78 

3d6 (10) 50 gp gems 

Roll once on Magic Item Table D, 

79 

3d6 (10) 100 gp gems 

Rolf once on Magic Item Table D, 

80 

2d4 (5) 250 gp art objects 

Roll once on Magic Item Table D, 

SI-84 

2d4 (5) 25 gp art objects 

Roll ld4 times on Magic item Table F. 

85-38 

3d6 (10) 50 gp gems 

Roll ld4 times on Magic Item Table F. 

89-91 

3d6 (10) 100 gp gems 

Roll ld4 times on Magic Item Table F. 

92-94 

2d4 (5) 250 gp art objects 

Roll ld4 times on Magic Item Table F. 

95-96 

3d6 (10) 100 gp gems 

Roll ld4 times on Magic Item Table G. 

97-98 

2d4 (5) 250 gp art objects 

Roll ld4 times on Magic Stem Table G, 

99 

00 

3d6 (10) 100 gp gems 

2d4 (5) 250 gp art objects 

Roll once on Magic Item Table H. 

Roll once on Magic Item Table H. 


CHAPTER 7 I TREASURE 






qualifies if that monster has spell slots and uses that 

class's spell list.) 

Without becoming attuned to an item that requires 
attunement, a creature gains only its nonmagical 
benefits, unless its description states otherwise. For 
example, a magic shield that requires attunement 
provides the benefits of a normal shield to a creature not 
attuned to it, but none of its magical properties. 

Attuning to an item requires a creature to spend 
a short rest focused on only that item while being in 
physical contact with it (this can't be the same short rest 
used to learn the item's properties). This focus can take 
the form of weapon practice (for a weapon), meditation 
(for a wondrous item), or some other appropriate 
activity. If the short rest is interrupted, the attunement 
attempt fails* Otherwise, at the end of the short rest, 
the creature gains an intuitive understanding of how to 
activate any magical properties of the item, including 
any necessary command words. 

Treasure Hoard: Challenge 1T —16 

CP sp 

Coins — — 


An item can be attuned to only one creature ata 


and a creature can he attuned to no more than three 
magic items at a time. Any attempt to attune to a fod 
item fails; the creature must end its attunement lo at 
item first. Additionally, a creature can't attune to m 
than one copy of an item. For example, a creature ca 
attune to more than one ring of protection at a time. 

A creature s attunement to an item ends if the ere:-. 
no longer satisfies the prerequisites for attunemem : 
the item has been more than 100 feet away for at k 
24 hours, if the creature dies, or if another creature 
attunes to the item. A creature can also voluntanlv 


attunement by spending another short rest focused c 
the item, unless the item is cursed. 


Cursed Items _ 

Some magic items bear curses that bedevil their u>- 
sometirnes long after a user has stopped using an he 
A magic items description specifies whether the iter 


EP GP PP 

— 4d6 x 1,000 (14,000) 5d6 x 100 (1,750) p: 


dlOO 

Gems or Art Objects 

Magic Items 

01-03 

-— 

— 

04-06 

2d4 (5) 250 gp art objects 

— 

07-09 

2cJ4 (5) 750 gp art objects 

— 

11-42 

3d6 (10) 500 gp gems 


13-15 

3d6 (10) 1,000 gp gems 

— 

16-19 

2d4 (5) 250 gp art objects 

Roll ld4 times on Magic Item Table A and ld6 times on Magic Item Table B. 

20-23 

2d4 (5) 750 gp art objects 

Roll 1 d4 times on Magic Item Table A and 1 d6 times on Magic Item Table B. 

24-26 

3d6 (10) 500 gp gems 

Roll 1 d4 times on Magic Item Table A and 1d6 times on Magic Item Table B. 

27-29 

3d6 (10) 1,000 gp gems 

Roll 1 d4 times on Magic Item Table A and 1 d6 times on Magic Item Table B. 

30-35 

2d4 (5) 250 gp art objects 

Roil 1 d6 times on Magic Item Table C, 

36-40 

2d4 (5) 750 gp art objects 

Roll ld6 times on Magic Item Table C 

41-45 

3d6 (10) 500 gp gems 

Roll 1 d6 times on PTlagic Item Table C. 

46-50 

3 d 6 (10) 1,000 gp gems 

Roll 1 d6 times on Magic Item Table C. 

51-54 

2d4 (5) 250 gp art objects 

Roll 1d4 times on Magic Item Table D. 

55-58 

2d4 (5) 750 gp art objects 

Roll 1d4 times on Magic Item Table D. 

59-62 

3d6 (10) 500 gp gems 

Roll 1d4 times on Magic Item Table D, 

63-66 

3d5 (10) 1,000 gp gems 

Roll 1 d4 times on Magic Item Table D, 

67-6S 

2d4 (5) 250 gp art objects 

Roll once on Magic Item Table E. 

69-70 

2 d4 (5) 750 gp art objects 

Roll once on Magic Item Table £. 

71-72 

3d6 (10) 500 gp gems 

Roll once on Magic Item Table E. 

73-74 

3d6 (10) 1,000 gp gems 

Roll once on Magic Item Table E. 

75-76 

77-78 

79-80 

2d4 (5) 250 gp art objects 

2d4 (5) 750 gp art objects 

3d6 (10) 500 gp gems 

Roll once on Magic Item Table f and 1d4 times on Magic Item Table G. 

Roll once on Magic Item Table F and 1d4 times on Magic Item Table G. 

Roll once on Magic Item Table F and ld4 times on Magic Item Table G. 

81-82 

3d6 (10) 1,000 gp gems 

Roll once on Magic Item Table F and ld4 times on Magic Item Table G„ 

83-85 

2 d4 (5) 250 gp art objects 

Roll ld4 times on Magic Item Table H. 

86-88 

2d4 (5) 750 gp art objects 

Roll !d4 times on Magic Item Table H. 

89-90 

3d6 (10) 500 gp gems 

Roll ld4 times on Magic Item Table H. 

91-92 

93-94 

95-96 

97-98 

3d6 (10) h00Q gp gems 

2d4 (5) 250 gp art objects 

2 d4 (5) 750 gp art objects 

3d6 (10) 500 gp gems 

Roll ld4 times on Magic Item Table H. 

Roll once on Magic Item Table 1, 

Roll once on Magic Item Table 1. 

Rolf once on Magic Item Table I. 

99-00 

3d6 (10) 1,000 gp gems 

Roll once on Magic Item Table 1. 

CHAFTER 

7 1 TREASURE 













is cursed. Most methods of identifying items, including 
the identify spell, fail to reveal such a curse, although 
re might hint at it. A curse should be a surprise to the 
-m's user when the curse's effects are revealed. 

Attune merit to a cursed item cant be ended voluntarily 
unless the curse is broken first, such as with the remove 
:arse spell. 

Magic Item Cate gories _ 

Each magic item belongs to a category: armor, 
r cions, rings, rods, scrolls, staffs, wands, weapons, or 
wondrous items. 

Armor 

Unless an armor's description says otherwise, armor 
must be worn for its magic to function. 

Some suits of magic armor specify the type of armor 
hey are, such as chain mail or plate. If a magic armor 
doesn't specify its armor type, you may choose the type 
- determine it randomly. 

Potions 

I ifferent kinds of magical liquids are grouped in the 
rategory of potions: brews made from enchanted herbs, 
ater from magical fountains or sacred springs, and 
!s that are applied to a creature or object. Most potions 
insist of one ounce of liquid. 

Potions are consumable magic items. Drinking a 
: otion or administering a potion to another character 

Treasure Hoard: Challenge 17+ 

CP 

Coins 

dlOO 

01 “02 
03-05 
06-08 
09-11 
12-14 
15-22 
23-30 
31-38 
39-46 
47-52 

53-58 IdlO (5) 2,500 gp art objects 
59-63 ld4 (2) 7,500 gp art objects 
64-68 IdS (4) 5,000 gp gems 

69 3d6 (10) 1,000 gp gems 

70 IdlO (5) 2,500 gp art objects 

71 ld4 (2) 7,500 gp art objects 

72 ld8 (4) 5,000 gp gems 

73-74 3d6 (10) 1,000 gp gems 

75-76 IdlO (5) 2,500 gp art objects 
77-78 1 d4 (2) 7.500 gp art objects 

"9-80 ld8 (4) 5,000 gp gems 
81-85 
86-90 
91-95 
96-00 


requires an action. Applying an oil might take longer, as 
specified in its description. Once used, a potion takes 
effect immediately, and it is used up. 

Rings 

Magic rings offer an amazing array of powers to those 
lucky enough to find them. Unless a ring s description 
says otherwise, a ring must be worn on a finger, or a 
similar digit, for the ring's magic to function. 

Rods 

A scepter or just a heavy cylinder, a magic rod is 
typically made of metal, wood, or bone. It’s about 2 or 3 
feet long, 1 inch thick, and 2 to 5 pounds. 

Scrolls 

Most scrolls are spells stored in written form, while 
a few bear unique incantations that produce potent 
wards. Whatever its contents, a scroll is a roll of paper, 
sometimes attached to wooden rods, and typically kept 
safe in a tube of ivoryjade, leather, metal, or wood. 

A scroll is a consumable magic item. Whatever the 
nature of the magic contained in a scroll, unleashing 
that magic requires using an action to read the scroll. 
When its magic has been invoked, the scroll can’t be 
used again. Its words fade, or it crumbles into dust. 

Any creature that can understand a written language 
can read the arcane script on a scroll and attempt to 
activate it. 


EP - GP PP 

— 12d6 x 1,000 (42,000) 8d6 x 1,000 (28,000) 


3d6 (10) 1,000 gp gems 
IdlO (5) 2,500 gp art objects 
ld4 (2) 7,500 gp art objects 
ld8 (4) 5,000 gp gems 
3d6 (10) 1,000 gp gems 
IdlO (5) 2,500 gp art objects 
ld4 (2) 7,500 gp art objects 
IdS (4) 5,000 gp gems 
3d6 (10) 1,000 gp gems 


Roll ld8 


3d6 (10) 1 3 000 gp gems 
IdlO (5) 2,500 gp art objects 
ld4 (2) 7,500 gp art objects 
ld8 (4) 5,000 gp gems 


Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Ro 

Roi 


ids 

ld8 
1d8 
ld6 
ld6 
1d6 
1 d 6 
Id 6 
ld6 
ids 
ld6 
ld4 
ld4 
ld4 
ld4 
ld4 
ld4 
ld4 
1d4 
ld4 
ld4 
ld4 
Id4 


times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 
times on 


Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 

Mag 


c Item Table C. 
c Item Table C. 
c Item Table C. 
c Item Table C 
c Item Table D. 
c Item Table D. 
c Item Table D. 
c Item Table D. 
c Item Table E, 
c Item Table E. 
c Item Table E, 
c Item Table E. 
c Item Table G. 
c Item Table G. 
c Item Table G. 
c Item Table G. 
c Item Table H. 
c Item Table H. 
c Item Table H. 
c Item Table H. 
c Item Table I. 
c Item Table i, 
c Item Table I, 
c Item Table I, 


SP 

Gems or Art Objects Magic Items 


CHATTER 7 > TREASURE 






Staffs 

A magic staff is about 5 or 6 feet long. Staffs vary widely 
in appearance: some are of nearly equal diameter 
throughout and smooth, others are gnarled and twisted, 
some are made of wood, and others are composed of 
polished metal or crystal. Depending on the material, a 
staff weighs between 2 and 7 pounds. 

Unless a staffs description says otherwise, a staff can 
be used as a quarterstaff. 

Wands 

A magic wand is about 15 inches long and crafted of 
metal, bone, or wood. It is tipped with metal, crystal, 
stone, or some other material. 

Weapons 

Whether crafted for some fell purpose or forged to 
serve the highest ideals of chivalry, magic weapons are 
coveted by many adventurers. 

Some magic weapons specify the type of weapon 
they are in their descriptions, such as a longsword or 


Variant: Mixing Potions 

A character might drink one potion while still under the 
effects of another, or pour several potions into a single 
container. The strange ingredients used in creating potions 
can result in unpredictable interactions. 

When a character mixes two potions together, you can 
roll on the Potion Miscibility table. If more than two are 
combined, roll again for each subsequent potion, combining 
the results. Unless the effects are immediately obvious, 
reveal them only when they become evident. 

Potion Miscibility 

dlOO Result 

01 The mixture creates a magical explosion, 

dealing 6dl0 force damage to the mixer and 
ldlO force damage to each creature within 5 
feet of the mixer. 

02-08 The mixture becomes an ingested poison of 
the DM’s choice. 

09-15 Both potions lose their effects. 

16-25 One potion loses its effect. 

26-35 Both potions work, but with their numerical 
effects and durations halved. A potion has no 
effect if it can’t be halved in this way. 

36-90 Both potions work normally. 

91-99 The numerical effects and duration of one 
potion are doubled. If neither potion has 
anything to double in this way, they work 
normally. 

00 Only one potion works, but its effect is 

permanent. Choose the simplest effect to 
make permanent, or the one that seems 
the most fun. For example, a potion of 
healing might increase the drinker’s hit point 
maximum by 4, or oil of etherealness might 
permanently trap the user in the Ethereal 
Plane. At your discretion, an appropriate 
spell, such as dispel magic or remove curse , 
might end this lasting effect. 

» ■ . — i. i 


longbow. If a magic weapon doesn't specify its weapon 
type, you may choose the type or determine it randomly 

Wondrous Items 

Wondrous items include worn items such as boots, 
belts, capes, gloves, and various pieces of jewelry and 
decoration, such as amulets, brooches, and circlets. 
Bags, carpets, crystal balls, figurines, horns, musical 
instruments, and other objects also fall into this catch¬ 
all category. 

Wearing and Wielding Items 

Using a magic item’s properties might mean wearing 
or wielding it. A magic item meant to be worn must be 
donned in the intended fashion: boots go on the feet, 
gloves on the hands, hats and helmets on the head, and 
rings on the finger. Magic armor must be donned, a 
shield strapped to the arm, a cloak fastened about the 
shoulders. A weapon must be held in hand. 

In most cases, a magic item that’s meant to be worn 
can fit a creature regardless of size or build. Many 
magic garments are made to be easily adjustable, or they 
magically adjust themselves to the wearer. 

Rare exceptions exist. If the story suggests a good 
reason for an item to fit only creatures of a certain 
size or shape, you can rule that it doesn’t adjust. For 
example, armor made by the drow might fit elves only. 

^ 

Variant: Scroll Mishaps 

A creature who tries and fails to cast a spell from a spell scroll 
must make a DC 10 Intelligence saving throw. If the saving 
throw fails, roll on the Scroll Mishap table. 

Scroll Mishap 

d6 Result 

1 A surge of magical energy deals the caster ld6 
force damage per level of the spell. 

2 The spell affects the caster or an ally 
(determined randomly) instead of the intended 
target, or it affects a random target nearby if the 
caster was the intended target. 

3 The spell affects a random location within the 
spell’s range. 

4 The spell’s effect is contrary to its normal one, 
but neither harmful nor beneficial. For instance, 
a fireball might produce an area of harmless 
cold. 

5 The caster suffers a minor but bizarre effect 
related to the spell. Such effects last only 
as long as the original spell's duration, or 
ldlO minutes for spells that take effect 
instantaneously. For example, a fireball might 
cause smoke to billow from the caster’s ears for 
ldlO minutes. 

6 The spell activates after 1 dl 2 hours. If the 
caster was the intended target, the spell takes 
effect normally. If the caster was not the 
intended target, the spell goes off in the general 
direction of the intended target, up to the spell’s 

maximum range, if the target has moved away. 

^- W 


CHAPTKR 7 | TREASURE 















Dwarves might make items usable only by dwarf-sized 
and dwarf-shaped characters. 

When a nonhumanoid tries to wear an item, use your 
discretion as to whether the item functions as intended, 
A ring placed on a tentacle might work, but a yuan-ti 
with a snakelike tail instead of legs can't wear boots. 

Multiple Items of the Same Kind 
Use common sense to determine whether more than 
one of a given kind of magic item can be worn* A 
haracter can't normally wear more than one pair of 
footwear, one pair of gloves or gauntlets, one pair of 
bracers, one suit of armor, one item of headwear, and 
ne cloak. You can make exceptions: a character might 
be able to wear a circlet under a helmet, for example t or 
be able to layer two cloaks. 

Paired Items 

Items that come in pairs—such as boots, bracers, 
gauntlets, and gloves—impart their benefits only if both 
items of the pair are worn* For example, a character 
wearing a boot of striding and springing on one foot and 
a boot of el venkind on the other foot gains no benefit 
from either item. 

Activating an Item _ 

Activating some magic items requires a user to do 
something special, such as holding the item and uttering 
a command word. The description of each item category 
ir individual item details how an item is activated. 
Certain items use one or more of the following rules for 
heir activation. 

If an item requires an action to activate* that action 
isn't a function of the Use an Item action* so a feature 
such as the rogue's Fast Hands can t be used to 
activate the item. 

Command Word 

A command word is a word or phrase that must be 
>poken for an item to work* A magic item that requires 
a command word can’t be activated in an area where 
Hound is prevented* as in the area of the silence spell. 

Consumables 

Some items are used up when they are activated* A 
potion or an elixir must be swallowed, or an oil applied 
the body. The writing vanishes from a scroll when it is 
read. Once used, a consumable item loses us magic. 


Magic Item Formulas 


4 magic item formula explains how to make a particular 
magic item. Such a formula can be an excellent reward if you 
allow player characters to craft magic items, as explained in 
chapter 6, "Between Adventures,” 

You can award a formula in place of a magic item. Usually 
.vntten in a book or on a scroll, a formula rs one step rarer 
than the item it allows a character to create. For example, 
the formula for a common magic item 1 is uncommon* No 
formulas exist for legendary items. 

If the creation of magic items is commonplace in your 
campaign, a formula can have a rarity that matches the 
rarity of the item it allows a character to create. Formulas for 
common and uncommon items might even be for sale, each 
with a cost double that of its magic item. 


Spells 

Some magic items allow the user to cast a spell from 
the item. The spell is cast at the lowest possible spell 
level, doesn't expend any of the user's spell slots* and 
requires no components, unless the item's description 
says otherwise* The spell uses its normal casting time* 
range, and duration, and the user of the item must 
concentrate if the spell requires concentration. Many 
items, such as potions, bypass the casting of a spell 
and confer the spell's effects, with their usual duration* 
Certain items make exceptions to these rules, changing 
the casting time, duration, or other parts of a spell* 

A magic item* such as certain staffs, may require 
you to use your own spellcasting ability when you 
cast a spell from the item. If you have more than one 
spellcasting ability, you choose which one to use with 
the item* If you don't have a spellcasting ability- perhaps 
you're a rogue with the Use Magic Device feature your 
spellcasting ability modifier is +0 for the item, and your 
proficiency bonus does apply. 

Charges 

Some magic items have charges that must be expended 
to activate their properties. The number of charges an 
item has remaining is revealed when an identify spell 
is cast on it, as well as when a creature attunes to it* 
Additionally, when an item regains charges, the creature 
attuned to it learns how many charges it regained. 

Magic Item Resilience 

Most magic items are objects of extraordinary 
artisanship. Thanks to a combination of careful crafting 
and magical reinforcement, a magic item is at least as 
durable as a non magical item of its kind. Most magic 
items, other than potions and scrolls, have resistance 
to all damage. Artifacts are practically indestructible, 
requiring extraordinary measures to destroy* 

Special Features 


You can add distinctiveness to a magic item by thinking 
about its backstory. Who made the item? Is anything 
unusual about its construction? Why was it made, and 
how was it originally used? What minor magical quirks 
set it apart from other items of its kind? Answering 
these questions can help turn a generic magic item, 
such as a +1 longsword, into a more flavorful discovery. 

T he tables that follow can help you come up with 
answers. Roll on as many of these tables as you like. 
Some of the table entries make more sense for certain 
items than for others* Some magic items are made 
only by certain kinds of creatures, for instance: a cloak 
of elvenkind is made by elves, rather than dwarves* If 
you roll something that doesn’t make sense, roll again, 
choose a more appropriate entry, or use the rolled detail 
as inspiration to make up your own. 


Variant: Wands That Don't Recharge 


A typical wand has expendable charges. If you’d like wands to 
be a limited resource, you can make some of them incapable 
of regaining charges. Consider increasing the base number of 
charges in such a wand, to a maximum of 25 charges* These 
charges are never regained once they're expended* 

■ ■ 


CHAPTER 7 


TREASURE 
























Who Created It or Was Intended to Use It? 

d2Q Creator or Intended User 

I Aberration. The item was created by aberrations 
in ancient times, possibly for the use of favored 
humanoid thralls. When seen from the corner of 
the eye, the item seems to be moving. 

2-4 Human. The item was created during the heyday of 
a fallen human kingdom, or it is tied to a human of 
legend. It might hold writing in a forgotten tongue 
or symbols whose significance is lost to the ages, 

5 Celestial. The weapon is half the normal weight 
and inscribed with feathered wings, suns, and 
other symbols of good. Fiends find the item's 
presence repulsive, 

6 Dragon. This item is made from scales and talons 
shed by a dragon. Perhaps it incorporates precious 
metals and gems from the dragon's hoard. It grows 
slightly warm when within 120 feet of a dragon, 

7 Drow, The item is half the normal weight, ft is 
black and inscribed with spiders and webs in honor 
of Lolth. It might function poorly, or disintegrate, if 
exposed to sunlight for 1 minute or more. 

8-9 Dwarf The item is durable and has Dwarven runes 
worked into its design. It might be associated with 
a dan that would like to see it returned to their 
ancestral halls, 

10 Elemental Ain The item is half the normal weight 
and feels hollow. If it's made of fabric, it is 
diaphanous. 

II Elemental Earth. This item might be crafted from 
stone. Any cloth or feather elements are studded 
with finely polished rock. 


d20 Creator or Intended User 

12 Elemental Fire. This item is warm to the touch 
and any metal parts are crafted from bfack iro" 
Sigils of flames cover its surface. Shades of re: 
orange are the prominent colors, 

13 Elemental Water. Lustrous fish scales replace 
leather or cloth on this item, and metal portion 
are instead crafted from seashells and workec :: 
as hard as any metal, 

14-15 Elf. The item is half the normal weight. It is 

adorned with symbols of nature: leaves, vines 
stars, and the like. 

16 Fey. The item is exquisitely crafted from the 
finest materials and glows with a pale radiance i* 
moonlight, shedding dim light in a 5-foot radius. 
Any metal in the item is silver or mithral, rathe" 
than iron or steel. 

17 Fiend. The item is made of black iron or horn 
inscribed with runes, and any doth or leather 
components are crafted from the hide offer:.: 
is warm to the touch and features leering face: 
vile runes engraved on its surface. Celestials ; 
the item’s presence repulsive. 

18 Giant, The item is larger than normal and wa: 
crafted by giants for use by their smaller allies 

19 Gnome, The item is crafted to appear ordina 
it might look worn. It could also incorporate 
and mechanical components, even if these are 
essential to the item's function. 

20 Undead. The item incorporates imagery of de = 
such as bones and skulls, and it might be crafted 
from parts of corpses. It feels cold to the tou:- 


— 

What Is a Detail from Its History? 

dS History 

1 Arcane. This item was created for an ancient order 
of spellcasters and bears the order's symbol. 

2 Bane. This item was created by the foes of a 
particular culture or kind of creature. If the culture 
or creatures are still around, they might recognize 
the item and single out the bearer as an enemy. 

3 Heroic. A great hero once wielded this item. 

Anyone who’s familiar with the item's history 
expects great deeds from the new owner, 

4 Ornament. The item was created to honor a special 
occasion. Inset gemstones, gold or platinum 
inlays, and gold or silver filigree adorn its surface. 

5 Prophecy. The item features in a prophecy: its 
bearer is destined to play a key role in future 
events. Someone else who wants to play that role 
might try to steal the item, or someone who wants 
to prevent the prophecy from being fulfilled might 
try to kill the item's bearer. 


d8 History 

6 Religious. This item was used in religious 
ceremonies dedicated to a particular deity, i: 
holy symbols worked into it. The god's follows 
might try to persuade its owner to donate it to 
temple, steal the item for themselves, or ceiel 
its use by a cleric or paladin of the same deity 

7 Sinister* This item is linked to a deed of great e 
such as a massacre or an assassination. It m . 

h 

have a name or be closely associated with a ■. = 
who used it. Anyone familiar with the item's h : 
is likely to treat it and its owner with suspicion 
S Symbol of Power. This item was once used as 
of royal regalia or as a badge of high office. Its 
former owner or that person’s descendants it- 
desire it, or someone might mistakenly ass urn: ? 
new owner is the item's legitimate inheritor. 




CHAPTER 7 




TREASURE 













What Minor Property Does It Have? 

d20 Minor Property 

1 Beacon. The bearer can use a bonus action to 
cause the item to shed bright fight in a 10-foot 
radius and dim light for an additional 10 feet, or to 
extinguish the light. 

2 Compass. The wieider can use an action to learn 
which way is north. 

3 Conscientious. When the bearer of this item 
contemplates or undertakes a malevolent act, the 
item enhances pangs of conscience. 

4 Delver, While underground, the bearer of this item 
always knows the item’s depth below the surface 
and the direction to the nearest staircase, ramp, or 
other path leading upward, 

5 Gleaming, This item never gets dirty. 

6 Guardian, The item whispers warnings to its 
bearer, granting a +2 bonus to initiative if the 
bearer isn’t incapacitated. 

7 Harmonious* Attuning to this item takes only 1 
minute. 

S Hidden Message* A message is hidden somewhere 
on the item. It might be visible only at a certain 
time of the year, under the light of one phase of the 
moon, or in a specific location. 

9 Key. The item is used to unlock a container, 
chamber, vault, or other entryway. 

10 Language. The bearer can speak and understand a 
language of the DM's choice while the item is on 
the bearer's person. 

11 Sentinel. Choose a kind of creature that is an 
enemy of the item's creator. This item glows faintly 
when such creatures are within 120 feet of it, 

■ ^ 

What Quirk Does It Have? 

d!2 Quirk 

1 Blissful* While in possession of the item, the 

bearer feels fortunate and optimistic about what 
the future holds. Butterflies and other harmless 
creatures might frolic in the item's presence. 

2 Confident, The item helps its bearer feel self- 
assured. 

3 Covetous* The item's bearer becomes obsessed 
with material wealth. 

4 Frail. The item crumbles, frays, chips, or cracks 

slightly when wielded, worn, or activated. This 
quirk has no effect on its properties* but if the item 
has seen much use, it looks decrepit. 

5 Hungry. This item's magical properties function 
only if fresh blood from a humanoid has been 
applied to it within the past 24 hours. It needs only 
a drop to activate. 

6 Loud. The item makes a loud noise—such as a 
clang, a shout, or a resonating gong—when used. 


d20 Minor Property 

12 Song Craft, Whenever this item is struck or is used 
to strike a foe, its bearer hears a fragment of an 
ancient song. 

13 Strange Material. The item was created from 

a material that is bizarre given its purpose. Its 
durability is unaffected, 

14 Temperate* The bearer suffers no harm in 
temperatures as cold as -20 degrees Fahrenheit or 
as warm as 120 degrees Fahrenheit. 

15 Unbreakable, The item can't be broken. Special 
means must be used to destroy it. 

16 War Leader. The bearer can use an action to cause 
his or her voice to carry dearly for up to 300 feet 
until the end of the bearer's next turn. 

17 Waterborne. This item floats on water and other 
liquids. Its bearer has advantage on Strength 
(Athletics) checks to swim, 

13 Wicked* When the bearer is presented with an 
opportunity to act in a selfish or malevolent way, 
the item heightens the bearer's urge to do so, 

19 Illusion. The item is imbued with illusion magic, 
allowing its bearer to alter the item’s appearance in 
minor ways. Such alterations don't change how the 
item is worn, carried, or wielded, and they have no 
effect on its other magical properties. For example, 
the wearer could make a red robe appear blue, or 
make a gold ring look like it's made of ivory. The 
item reverts to its true appearance when no one is 
carrying or wearing it. 

20 Roll twice, retelling any additional 20s. 

d!2 Quirk 

7 Metamorphic. The item periodically and randomly 
alters its appearance in slight ways. The bearer has 
no control over these minor alterations, which have 
no effect on the item's use. 

8 Muttering. The item grumbles and mutters. A 
creature who listens carefully to the item might 
learn something useful. 

9 Painful. The bearer experiences a harmless flash of 
pain when using the item, 

10 Possessive, The item demands attunement when 
first wielded or worn, and it doesn't allow its 
bearer to attune to other items, (Other items 
already attuned to the bearer remain so until their 
attunement ends.) 

11 Repulsive. The bearer feels a sense of distaste 
when in contact with the item, and continues to 
sense discomfort while bearing it. 

12 Slothful, The bearer of this item feels slothful and 
lethargic. While attuned to the item, the bearer 
requires 10 hours to finish a long rest. 


CHAPTER 7 I TREASURE 




Random Magic Items 


When you use a Treasure Hoard table to randomly 
determine the contents of a treasure hoard and your r 9 
indicates the presence of one or more magic items* you 
can determine the specific magic items by rolling on 
appropriate table(s) here. 

Magic Item Table A 


d 100 

Magic Item 

01-50 

Potion of healing 

51-60 

Spell scroll (cantrip) 

61-70 

Potion of climbing 

—■ 

i 

O 

Spell scroti (1st level) 

91-94 

Spell scroll (2nd level) 

93-98 

Potion of greater heating 

99 

Bag of holding 

GO 

Driftglobe 

Magic Item Table B 

dl00 

Magic Item 

01-15 

Potion of greater healing 

16-22 

Potion of fire breath 

23-29 

Potion of resistance 

30-34 

Ammunition, +1 

35-39 

Potion of animal friendship 

40-44 

Potion of hill giant strength 

45-49 

Potion of growth 

50-54 

Potion of water breathing 

55-59 

Spell scroll (2nd level) 

60-64 

Spell scroll (3rd level) 

65-67 

Bag of holding 

68-70 

KeoghfonVs ointment 

71-73 

Oil of slipperiness 

74-75 

Dust of disappearance 

76-77 

Dust of dryness 

78-79 

Dust of sneezing and choking 

80-81 

Elemental gem 

82-83 

Philter of love 

84 

Alchemy jug 

S5 

Cap of water breathing 

86 

Cloak of the manta ray 

87 

Driftglobe 

88 

Goggles of night 

89 

Helm of comprehending languages 

90 

Immovable rod 

91 

Lantern of revealing 

92 

Mariner's armor 

93 

Mithral armor 

94 

Potion of poison 

95 

Ring of swimming 

96 

Robe of useful items 

97 

h. 

Rope of climbing 

98 

Saddle of the cavalier 

99 

Wand of magic detection 

00 

Wand of secrets 



















Magic Item Table C 


dlOO 

Magic Item 

01-15 

Potion of superior healing 

16-22 

Spell scroll (4th level) 

23-27 

Ammunition, +2 

28-32 

Potion of clairvoyance 

33-37 

Potion of diminution 

38-42 

Potion of gaseous for m 

43-47 

Potion of frost giant strength 

48-52 

Potion of stone giant strength 

53-57 

Potion of heroism 

58-62 

Potion of invulnerability 

63-67 

Potion of mind reading 

68-72 

Spell scroll (Sth level) 

73-75 

EEixi r of health 

76-78 

Oil of ethereal ness 

79-81 

Potion of fire giant strength 

82-84 

Quaal’s feather token 

85-87 

Scroll of protection 

88-89 

Bag of beans 

90-91 

Bead of force 

92 

Chime of opening 

93 

Decanter of endless water 

94 

Eyes of minute seeing 

95 

Folding boat 

96 

Reward's handy haversack 

97 

Horseshoes of speed 

98 

Necklace of fireballs 

99 

Periapt of health 

00 

Sending stones 


Magic Item Table D 


dlOO 

Magic Item 

01-20 

Potion of supreme healing 

21-30 

Potion of invisibility 

o 

( 

rn 

Potion of speed 

41-50 

Spell scroll (6th level) 

51-57 

Spell scroll (7th level) 

58-62 

Ammunition, +3 

63-67 

Oil of sharpness 

68-72 

Potion of flying 

73-77 

Potion of cloud giant strength 

78-82 

Potion of longevity 

83-87 

Potion of vitality 

88-92 

Spell scroll (Sth level) 

93-95 

Horseshoes of a zephyr 

96-98 

Nolzur's marvelous pigments 

99 

Bag of devouring 

00 

Portable hole 


Magic Item Table E 

dlOO Magic Item 
01-30 Spell scroll (Sth level) 

31-55 Potion of storm giant strength 

56-70 Potion of supreme healing 
71-S5 Spell scroll (9th level) 

86-93 Universal solvent 
94-98 Arrow of slaying 
99-00 Sovereign glue 


Nolxue's Marve-ous, 
Pigments 


h EADEJANO 
OF INTE LLECT 


CHAPTER 7 I TREASURE 








Magic Item Table F 


dlOO 

Magic Item 

dlOO 

Magic Item 

01-15 

Weapon, +1 

71 

Bag of tricks (tan) 

16-18 

Shield, +1 

72 

Boots of the winterlands 

19-21 

Sentinel shield 

73 

Circlet of blasting 

22-23 

Amulet of proof against detection and location 

74 

Deck of illusions 

24-25 

Boots of elvenkind 

75 

Eversmoking bottle 

26-27 

Boots of striding and springing 

76 

Eyes of charming 

28-29 

Bracers of archery 

77 

Eyes of the eagle 

30-31 

Brooch of shielding 

78 

Figurine of wondrous power (silver raven) 

32-33 

Broom of flying 

79 

Gem of brightness 

34-35 

Cloak of elvenkind 

80 

Gloves of missile snaring 

36-37 

Cloak of protection 

SI 

Gloves of swimming and climbing 

38-39 

Gauntlets of ogre power 

82 

Gloves of thievery 

40-41 

Hat of disguise 

83 

Headband of intellect 

42-43 

Javelin of lightning 

84 

Helm of telepathy 

44-45 

Pearl of power 

85 

Instrument of the bards (Doss lute) 

46-47 

Rod of the pact keeper, +1 

£6 

Instrument of the bards {Fochlucan bandore) 

48-49 

Slippers of spider climbing 

87 

Instrument of the bards (Mac-Fuimidh cittern) 

50-51 

Staff of the adder 

88 

Medallion of thoughts 

52-53 

Staff of the python 

89 

Necklace of adaptation 

54-55 

Sword of vengeance 

90 

Periapt ofwound closure 

56-57 

Trident offish command 

91 

Pipes of haunting 

58-59 

Wand of magic missiles 

92 

Pipes of the sewers 

60-61 

Wand of the war mage, +1 

93 

Ring of jumping 

62-63 

Wand of web 

94 

Ring of mind shielding 

64-65 

Weapon of warning 

95 

Ring of warmth 

66 

Adamantine armor (chain mail) 

96 

Ring of water walking 

67 

Adamantine armor (chain shirt) 

97 

Quiver of Ehlonna 

68 

Adamantine armor (scale mail) 

93 

Stone of good luck 

69 

Bag of tricks (gray) 

99 

Wind fan 

70 

Bag of tricks (rust) 

00 

Winged boots 



Bracers of 
Archery 


■'7rV- ••■■**" ,Vr '" -'A 


Fochlucan 

Bandore 




Arrow of Slaving 


CHAPTER 7 I TREASURE 





































































Magic Item Table C 


dlOG 

Magic Item 

dlOO 

Magic Item 

01-11 

Weapon, +2 

54 

loun stone (sustenance) 

12-14 

Figurine of wondrous power (roll dS) 

55 

Iron bands of Bilarro 


1 Bronze griffon 

56 

Armor, +1 leather 


2 Ebony fly 

57 

Armor of resistance (leather) 


3 Golden lions 

58 

Mace of disruption 


4 Ivory goats 

59 

Mace of smiting 


5 Marble elephant 

60 

Mace of terror 


6-7 Onyx dog 

61 

Mantle of spell resistance 


8 Serpentine owi 

62 

Necklace of prayer beads 

15 

Adamantine armor (breastplate) 

63 

Periapt of proof against poison 

16 

Adamantine armor (splint) 

64 

Ring of animal influence 

17 

Amulet of health 

65 

Ring of evasion 

IS 

Armor of vulnerability 

66 

Ring of feather falling 

19 

Arrow-catching shield 

67 

Ring of free action 

20 

Belt of dwarvenkind 

68 

Ring of protection 

21 

Belt of hill giant strength 

69 

Ring of resistance 

22 

Berserker axe 

70 

Ring of spell storing 

23 

Boots of levitation 

71 

Ring of the ram 

24 

Boots of speed 

72 

Ring of X-ray vision 

25 

Bowl of commanding water elemental 

73 

Robe of eyes 

26 

Bracers of defense 

74 

Rod of rulership 

27 

Brazier of commanding fire elemental 

75 

Rod of the pact keeper, +2 

28 

Cape of the mountebank 

76 

Rope of entanglement 

29 

Censer of controlling air elemental 

77 

Armor, +1 scale mail 

30 

Armor, +1 chain mail 

78 

Armor of resistance (scale mail) 

31 

Armor of resistance (chain mail) 

79 

Shield, +2 

32 

Armor, +1 chain shirt 

SO 

Shield of missile attraction 

33 

Armor of resistance (chain shirt) 

81 

Staff of charming 

34 

Cloak of displacement 

82 

Staff of healing 

35 

Cloak of the bat 

83 

Staff of swarming insects 

36 

Cube offeree 

84 

Staff of the woodlands 

37 

Daern's instant fortress 

85 

Staff of withering 

38 

Dagger of venom 

86 

Stone of controlling earth elemental 

39 

Dimensional shackles 

87 

Sun blade 

40 

Dragon slayer 

88 

Sword of life stealing 

41 

Elven chain 

89 

Sword of wounding 

42 

Flame tongue 

90 

Tentacle rod 

43 

Gem of seeing 

91 

Vicious weapon 

44 

Giant slayer 

92 

Wand of binding 

45 

Glamoured studded leather 

93 

Wand of enemy detection 

46 

Helm of teleportation 

94 

Wand of fear 

47 

Horn of blasting 

95 

Wand of fireballs 

48 

Horn of Valhalla (silver or brass) 

96 

Wand of lightning bolts 

49 

Instrument of the bards (Canaith mandolin) 

97 

Wand of paralysis 

50 

Instrument of the bards (Cti lyre) 

98 

Wand of the war mage, +2 

51 

loun stone (awareness) 

99 

Wand of wonder 

52 

loun stone (protection) 

00 

Wings of flying 

53 

loun stone (reserve) 


















dn oo 
66 

67 

68 

69 

70 

71 

72 

73 

74 

75 

76 

77 

78 

79 

80 
81 
82 

83 

84 

85 

86 

87 

88 

89 

90 

91 

92 

93 

94 

95 

96 

97 

98 

99 
00 


Magk Item 
Dancing sword 
Demon armor 
Dragon scale mail 
Dwarven plate 
Dwarven thrower 
Efreeti bottle 

Figurine of wondrous power (obsidian steed) 

Frost brand 

Helm of brilliance 

Horn of Valhalla (bronze) 

Instrument of the bards (Anstruth harp) 

loun stone (absorption) 

loun stone (agility) 

loun stone (fortitude) 

loun stone (insight) 

loun stone (intellect) 

loun stone (leadership) 

loun stone (strength) 

Armor, +2 leather 
Manual of bodily health 
Manual of gainful exercise 
Manual of golems 
Manual of quickness of action 
Mirror of life trapping 
Nine lives stealer 
Oathbow 

Armor, +2 scale mall 
Spellguard shield 
Armor, +1 splint 
Armor of resistance (splint) 

Armor, +1 studded leather 

Armor of resistance (studded leather) 

Tome of dear thought 

Tome of leadership and influence 

Tome of understanding 


Dragon Scale Mail 


CHAPTER 7 I rRL ASURH 


Magic Item Table H 


dlOO 

Magic Item 

01-10 

Weapon, +3 

11-12 

Amulet of the planes 

13-14 

Carpet of flying 

15-16 

Crystal ball (very rare version) 

17-18 

Ring of regeneration 

19-20 

Ring of shooting stars 

21-22 

Ring of telekinesis 

23-24 

Robe of scintillating colors 

25-26 

Robe of stars 

27-28 

Rod of absorption 

29-30 

Rod of alertness 

31-32 

Rod of security 

33-34 

Rod of the pact keeper, +3 

35-36 

Scimitar of speed 

37-38 

Shield, +3 

39-40 

Staff of fire 

41-42 

Staff of frost 

43-44 

Staff of power 

45-46 

Staff of striking 

47-48 

Staff of thunder and lightning 

49-50 

Sword of sharpness 

51-52 

Wand of polymorph 

53-54 

Wand of the war mage, +3 

55 

Adamantine armor (half plate) 

56 

Adamantine armor (plate) 

57 

Animated shield 

58 

Belt of fire giant strength 

59 

Belt of frost (or stone) giant stren 

60 

Armor, -rl breastplate 

61 

Armor of resistance (breastplate) 

62 

Candle of invocation 

63 

Armor, +2 chain mail 

64 

Armor, +2 chain shirt 

65 

Cloak of arachnida 


Manual of 
Iron Golems 





























CHAPTER 7 I TREASURE 


Belt of Storm 
Giant Strength 


dlOO 

Magic Item 

77 

Apparatus of Kwalish 

78 

Armor of invulnerability 

79 

Belt of storm giant strength 

SO 

Cubic gate 

81 

Deck of many things 

82 

Efreeti chain 

83 

Armor of resistance (half plate) 

84 

Horn of Valhalla (iron) 

85 

Instrument of the bards (Gllamh harp) 

86 

loun stone (greater absorption) 

87 

loun stone (mastery) 

88 

loun stone (regeneration) 

89 

Plate armor of etherealness 

90 

Plate armor of resistance 

91 

Ring of air elemental command 

92 

Ring of earth elemental command 

93 

Ring of fire elemental command 

94 

Ring of three wishes 

95 

Ring of water elemental command 

96 

Sphere of annihilation 

97 

Talisman of pure good 

98 

Talisman of the sphere 

99 

Talisman of ultimate evil 

00 

Tome of the stilled tongue 


Magic Item Table I 


dlOO 

Magic Item 

01-05 

Defender 

06-10 

Hammer of thunderbolts 

11-15 

Luck blade 

16-20 

Sword of answering 

21-23 

Holy avenger 

24 “2 6 

Ring of djinni summoning 

27-29 

Ring of invisibility 

30-32 

Ring of spell turning 

33-35 

Rod of lordly might 

36-38 

Staff of the magi 

39-41 

Vorpal sword 

42-43 

Belt of cloud giant strength 

44-45 

Armor, +2 breastplate 

46-47 

Armor, +3 chain mail 

48-49 

Armor, +3 chain shirt 

50-51 

Cloak of invisibility 

52-53 

Crystal ball (legendary version) 

54-55 

Armor, +1 half plate 

56-57 

Iron flask 

58-59 

Armor, +3 leather 

60-61 

Armor, +1 plate 

62-63 

Robe of the archmagi 

64-65 

Rod of resurrection 

66-67 

Armor, +1 scale mail 

68-69 

Scarab of protection 

70-71 

Armor, +2 splint 

72-73 

Armor, +2 studded leather 

74-75 

Well of many worlds 

76 

Magic armor (roll dl2) 


1-2 Armor, 4-2 half plate 

3-4 Armor, +2 plate 

5-6 Armor, +3 studded leather 


7-8 Armor, +3 breastplate 

9-10 Armor, +3 splint 


11 Armor, +3 half plate 

12 Armor, -1-3 plate 


Canole of 
Invocation 


Plate Armor 
of Resistance 

















Amulet of Health 



Alchemy Jug 


Amulet of Proof a6ain>* 
Detection and Location 


Magic Items A-Z 


Magic items are presented in alphabetical order. A 
magic item's description gives the item's name, its 
category, its rarity, and its magical properties. 

Adamantine Armor 

Armor (medium or heavy, but not hide), uncommon 

This suit of armor is reinforced with adamantine, one 
of the hardest substances in existence. While you're 
wearing it, any critical hit against you becomes a 
normal hit. 

AlchemyJug 


Ammunition, +1, +2, or +3 

Weapon (any ammunition), uncommon (+!)< rare (+2), or 
very rare (+3) 

You have a bonus to attack and damage rolls made 
with this piece of magic ammunition. The bonus is 
determined by the rarity of the ammunition. Once it hits 
a target, the ammunition is no longer magical. 

Amulet of Health 

Wondrous item , rare (requires attunement) 

Your Constitution score is 19 while you wear this 
amulet. It has no effect on you if your Constitution is 
already 19 or higher. 


Amulet of the 


Wondrous item, uncommon 

This ceramic jug appears to be able to hold a gallon 
of liquid and weighs 12 pounds whether full or empty. 
Sloshing sounds can be heard from within the jug when 
it is shaken, even if the jug is empty. 

You can use an action and name one liquid from the 
table below to cause the jug to produce the chosen 
liquid. Afterward, you can uncork the jug as an action 
and pour that liquid out t up to 2 gallons per minute. The 
maximum amount of liquid the jug can produce depends 
on the liquid you named. 

Once the jug starts producing a liquid, it can t produce 
a different one, or more of one that has reached its 
maximum, until the next dawn. 


Liquid 

Max Amount 

Liquid 

Max Amount 

Acid 

8 ounces 

Oil 

1 quart 

Basic poison 

1/2 ounce 

Vinegar 

2 gallons 

Beer 

4 gallons 

Water, fresh 

S gallons 

Honey 

1 gallon 

Water, salt 

12 gallons 

Mayonnaise 

2 gallons 

Wine 

1 gallon 


Amulet of Proof against Detection 
and Location 

Wondrous item, uncommon (requires attunement) 

While wearing this amulet, you are hidden from 
divination magic. You can t be targeted by such magic or 
perceived through magical scrying sensors. 

Amulet of the Planes 

Wondrous Item, very rare (requires attunement) 

While wearing this amulet, you can use an action to 
name a location that you are familiar with on another 
plane of existence. Then make a DC 15 Intelligence 
check. On a successful check, you cast the plane shift 
spell. On a failure, you and each creature and object 
within 15 feet of you travel to a random destination. 

Roll a dlOO. On a 1-60, you travel to a random location 
on the plane you named. On a 61 100, you travel to a 
randomly determined plane of existence. 



CHAPTER 7 


TREASURE 






































Apparatus of Kwalish 



Animated Shield 


A creature in the compartment can use an action to 
move as many as two of the apparatus’s levers up or 
down. After each use, a lever goes back to its neutral 
position. Each lever, from left to right, functions as 


Animated Shield 


Armor (shhld) t very rare (requires attunement) 


shown in the Apparatus of Kwalish Levers table. 


While holding this shield, you can speak its command 
word as a bonus action to cause it to animate. The shield 
leaps into the air and hovers in your space to protect 
you as if you were wielding it, leaving your hands free. 
The shield remains animated for 1 minute t until you 
use a bonus action to end this effect, or until you are 
incapacitated or die, at which point the shield falls to the 
ground or into your hand if you have one free. 

Apparatus of Kwalish 

Wondrous item legendary 

This item first appears to be a Large sealed iron barrel 
weighing 500 pounds. The barrel has a hidden catch, 
which can be found with a successful DC 20 Intelligence 
(Investigation) check. Releasing the catch unlocks a 
hatch at one end of the barrel, allowing two Medium or 
smaller creatures to crawl inside. Ten levers are set in 
a row at the far end, each in a neutral position, able to 
move either up or down. When certain levers are uscd t 
the apparatus transforms to resemble a giant lobster. 

The apparatus of Kwalish is a Large object with the 
following statistics: 

Armor Class: 20 
Hit Points: 200 

Speed: 30 ft., swim 30 ft. (or 0 ft. for both if the legs and 
tail aren't extended) 

Damage Immunities: poison, psychic 

To be used as a vehicle, the apparatus requires one pilot. 
While the apparatus's hatch is closed, the compartment 
is airtight and watertight. The compartment holds 
enough air for 10 hours of breathing, divided by the 
number of breathing creatures inside. 

The apparatus floats on water. It can also go 
underwater to a depth of 900 feet. Below that, the 
vehicle takes 2d6 bludgeoning damage per minute 
from pressure. 


APPARATUS OF KWALISH LEVERS 

Lever Up Down 


1 Legs and tail extend, 
allowing the apparatus to 
walk and swim. 

2 Forward window shutter 
opens, 

3 Side window shutters 
open (two per side), 

4 Two claws extend from 
the front sides of the 
apparatus, 

5 Each extended daw 
makes the following 
melee weapon attack: 

+8 to hit, reach 5 ft,, 
one target. Hit: 7 (2d6) 
bludgeoning damage, 

6 The apparatus walks or 
swims forward. 

7 The apparatus turns 90 
degrees left. 

S Eyelike fixtures emit 

bright light in a 30-foot 
radius and dim light for 
an additional 30 feet, 

9 The apparatus sinks as 
much as 20 feet in liquid. 

10 The rear hatch unseals 
and opens. 


Legs and tail retract, 
reducing the apparatus's 
speed to 0 and making 
it unable to benefit from 
bonuses to speed. 
Forward window shutter 
doses. 

Side window shutters 
close (two per side). 

The claws retract. 

Each extended daw 
makes the following 
melee weapon attack: 

+8 to hit, reach 5 ft., one 
target. Hit: The target is 
grappled (escape DC 15}. 
The apparatus walks or 
swims backward. 

The apparatus turns 90 
degrees right. 

The light turns off, 


The apparatus rises up to 
20 feet in liquid. 

The rear hatch doses 
and seals. 


CHAPTER 7 I TREASURE 














AfiMon of 
Cold Resistance 



Armor, +1, +2, or +3 

Armor (light medium, or heavy), rare (+1), very rare (+2), 
or legendary (+3) 

You have a bonus to AC while wearing this armor* The 
bonus is determined by its rarity. 


Armor of Invulnerability 

Armor (plate), legcndary (requires attunement) 


You have resistance to non magical damage while you 
wear this armor Additionally, you can use an action to 
make yourself immune to nonmagical damage for 10 
minutes or until you are no longer wearing the armor 
Once this special action is used, it can't be used again 
until the next dawn. 


Armor of Resistance 

Armor (light, medium, or heavy), rare (requires 
at tunement) 


You have resistance to one type of damage while 
you wear this armor. The DM chooses the type or 
determines it randomly from the options below. 


dlO Damage Type 

1 Acid 

2 Cold 

3 Fire 

4 Force 

5 Lightning 


dlO Damage Type 

6 Necrotic 

7 Poison 

8 Psychic 

9 Radiant 

10 Thunder 


Armor of Vulnerability 
Armor (plate), rare (requires attunement) 

While wearing this armor, you have resistance to one 
of the following damage types: bludgeoning, piercing, 
or slashing. The DM chooses the type or determines 
it randomly. 

Curse. This armor is cursed, a fact that is revealed 
only when an identify spell is cast on the armor or you 
attune to it* Attuning to the armor curses you until you 
are targeted by the remove curse spell or similar magic: 
removing the armor fails to end the curse. While curse 
you have vulnerability to two of the three damage types 
associated with the armor (not the one to which it gran:- 
resistance). 

Arrow-Catching Shield 

Armor (shield), rare (requires attunement) 

You gain a +2 bonus to AC against ranged attacks while 
you wield this shield. This bonus is in addition to the 
shield's normal bonus to AC. In addition, whenever an 
attacker makes a ranged attack against a target within 
5 feet of you, you can use your reaction to become the 
target of the attack instead. 

Arrow of Slaying 

Weapon (arrow), very rare 

An arrow o f slaying is a magic w eapon meant to slay 
a particular kind of creature. Some are more focused 
than others: for example, there are both arrows of 
dragon slaying and arrows of blue dragon slaying. If a 
creature belonging to the type* race, or group associated 
with an arrow of slaying takes damage from the arrow, 
the creature must make a DC 17 Constitution saving 
throw, taking an extra 6d 10 piercing damage on a failed 
save, or half as much extra damage on a successful one. 

Once an arrow of slaying deals its extra damage to a 
creature, it becomes a nonmagical arrow. 

Other types of magic ammunition of this kind exist, 
such as bolts of slaying meant for a crossbow, though 
arrows are most common. 

Bag of Beans 
Wondrous item, rare 

Inside this heavy cloth bag are 3d4 dry beans. The 
bag weigtfe 1/2 pound plus 1/4 pound for each bean 
it contains* 

If you dump the bag's contents out on the ground, they 
explode in a 10-foot radius, extending from the beans. 
Each creature in the area, including you, must make a 
DC 15 Dexterity saving throw, taking 5d4 fire damage 
on a failed save, or half as much damage on a successful 
one* The fire ignites flammable objects in the area that 
aren't being worn or carried. 

If you remove a bean from the bag. plant at in dirt or 
sand, and then water it, the bean produces an effect 
1 minute later from the ground where it was planted. 

The DM can choose an effect from the following table, 
determine it randomlv. or create an effect. 


CHAPTER 7 ! TREASURE 









Sag op Holoim# 


dlOO Effect 

01 5d4 toadstools sprout. If a. creature eats a 

toadstool, roll any die. On an odd roll, the eater 
must succeed on a DC 15 Constitution, saving 
throw or take 5d6 poison damage and become 
poisoned for 1 hour. On an even roll, the eater 
gains Sd6 temporary hit points for 1 hour. 

□2—10 A geyser erupts and spouts water, beer, berry juice, 
tea, vinegar, wine, or oil (DM's choice) 30 feet into 
the air for ld!2 rounds. 

-20 A treant sprouts (see the Monster Manual for 
statistics). There's a 50 percent chance that the 
treant is chaotic evil and attacks. 

2 '-30 An animate, immobile stone statue in your likeness 
rises. It makes verbal threats against you. If you 
leave it and others come near, it describes you 
as the most heinous of villains and directs the 
newcomers to find and attack you. If you are on 
the same plane of existence as the statue, it knows 
where you are. The statue becomes inanimate after 
24 hours. 

31 -40 A campfire with blue flames springs forth and 
burns for 24 hours (or until it is extinguished). 

41 -50 IdG + 6 shnekers sprout (see the Monster Manual 
for statistics), 

51-60 1 d4 + 8 bright pink toads crawl forth. Whenever 

a toad is touched, it transforms into a Large or 
smaller monster of the DM's choice. The monster 
remains for 1 minute, then disappears in a puff of 
bright pink smoke. 

51-70 A hungry bulette (see the Monstar Manual for 
statistics) burrows up and attacks. 

’1-80 A fruit tree grows, tt has IdlO + 20 fruit, IdS of 

which act as randomly determined magic potions, 
white one acts as an ingested poison of the DM's 
choice. The tree vanishes after 1 hour. Picked fruit 
remains, retaining any magic for 30 days. 

81 -90 A nest of 1d4 -f 3 eggs springs up. Any creature 
that eats an egg must make a DC 20 Constitution 
saving throw. On a successful save, a creature 
permanently increases its lowest ability score by 1, 
randomly choosing among equally low scores. On 
a failed save, the creature takes 1 Od6 force damage 
from an internal magical explosion. 

91-99 A pyramid with a 60-foot-square base bursts 
upward. Inside is a sarcophagus containing 
a mummy lord (see the Monster Manual for 
statistics). The pyramid is treated as the mummy 
lord's lair, and its sarcophagus contains treasure of 
the DM's choice. 

00 A giant beanstalk sprouts, growing to a height 
of the DM's choice. The top leads where the DM 
chooses, such as to a great view, a cloud giant's 
castle, or a different plane of existence. 



Bag of 
Devouring 


Bag of Devouring 
Wondrous item „ very rare 


This bag superficially resembles a bag of holding but is a 
feeding orifice fora gigantic extradimensional creature. 

Turning the bag inside out closes the orifice. 

The extradimensional creature attached to the bag 
can sense whatever is placed inside the bag. Animal or 
vegetable matter placed wholly in the bag is devoured 
and lost forever. When part of a living creature is placed 
in the bag, as happens when someone reaches inside it. 
there is a 50 percent chance that the creature is pulled 
inside the bag. A creature inside the bag can use its 
action to try to escape with a successful DC 15 Strength 
cheek. Another creature can use its action to reach into 
the bag to pull a creature out. doing so with a successful 
DC 20 Strength check (provided it isn't pulled inside the 
bag first). Any creature that starts its turn inside the bag 
is devoured, its body destroyed. 

Inanimate objects can he stored in the bag. which 
can hold a cubic foot of such material. However, once 
each day. the bag swallows any objects inside it and 
spits them out into another plane of existence. The DM 
determines the time and plane. 

If the bag is pierced or torn, it is destroyed, and 
anything contained within it is transported to a random 
location on the Astral Plane. 

Bag of Holding 

Wondrous item, uncommon 

This bag has an interior space considerably larger 
than its outside dimensions, roughly 2 feet in diameter 
at the mouth and 4 feet deep. The bag can hold up to 
500 pounds, not exceeding a volume of 64 cubic feet. 

The bag weighs 15 pounds t regardless of its contents. 

Retrieving an item from the bag requires an action. 

If the bag is overloaded, pierced, or torn, it ruptures 
and is destroyed, and its contents are scattered in the 

CHAPTER 7 I TREASURE 

^55 






Be 


S 


L-T 


O 


Sire 


G 


Cray Bag of Tricks 


d8 

Creature 

dS 

Creature 

1 

Weasel 

5 

Panther 

2 

Giant rat 

6 

Giant badger 

3 

Badger 

7 

Dire wolf 

4 

Boar 

S 

Giant elk 

Rust Bag of Tricks 



dS 

Creature 

dS 

Creature 

1 

Rat 

5 

Giant goat 

2 

Owl 

Mastiff 

6 

Giant boar 

3 

7 

Lion 

4 

Goat 

S 

Brown bear 

Tan Bag of Tricks 



dS 

Creature 

dS 

Creature 

i 

jackal 

5 

Black bear 

2 

Ape 

6 

Giant weasel 

3 

Baboon 

7 

Giant hyena 

4 

Axe beak 

S 

Tiger 


Bead of Force 

Wondrous item, rare 

This small black sphere measures 3/4 of an inch in 
diameter and weighs an ounce. Typically, td4 + 4 beads 
offeree are found together. 

You can use an action to throw the bead up to 60 
feet. The bead explodes on impact and is destroyed. 
Each creature within a 10-foot radius of where the bead 
landed must succeed on a DC 15 Dexterity saving throw 
or take 5d4 force damage. A sphere of transparent 
force then encloses the area for 1 minute. Any creature 
that failed the save and is completely within the area is 
trapped inside this sphere. Creatures that succeeded 
on the save, or are partially within the area, are pushed 


CHAPTER 7 I TREASURE 


Bag of Tricks 

Wondrous item, uncommon 


This ordinary bag, made from gray, rust, or tan cloth, 
appears empty Reaching inside the bag, however, 
reveals the presence of a small, fuzzy object. The bag 
weighs 1/2 pound. 

You can use an action to pull the fuzzy object from the 
bag and throw it up to 20 feet. When the object lands, 
it transforms into a creature you determine by rolling 
a d8 and consulting the table that corresponds to the 
bag s color. See the Monster Manual for the creature’s 
statistics. 

The creature is friendly to you and your companions, 
and it acts on your turn* You can use a bonus action to 
command how T the creature moves and what action ir 
takes on its next turn, or to give it genera! orders, such 
as to attack your enemies. In the absence of such orders, 
the creature acts in a fashion appropriate to its nature. 

Once three fuzzy objects have been pulled from the 
bag, the bag can’t be used again until the next dawn. 


Astral Plane* If the bag is turned inside out, its contents 
spill forth, unharmed, but the bag must be put right 
before it can be used again* Breathing creatures inside 
the bag can survive up to a number of minutes equal 
to 10 divided by the number of creatures (minimum 1 
minute), after which time they begin to suffocate* 
Placing a bag of holding inside an extradimensional 
space created by a Howards handy haversack, portable 
hole , or similar item instantly destroys both items and 
opens a gate to the Astral Plane. The gate originates 
where the one item was placed inside the other* Any 
creature within 10 feet of the gate is sucked through it 
to a random location on the Astra! Plane* The gate then 
closes. The gate is one-way only and can’t be reopened* 

















The bch of stone giant strength and the belt of frost giant 
strength look different but they have the same effect* 



Boots of 
Elvenkind 


away from the center of the sphere until they are no 
longer inside it. Only breathable air can pass through 
:he sphere’s wall. No attack or other effect can. 

An enclosed creature can use its action to push 
against the sphere's wail, moving the sphere up to half 
■he creature's walking speed. The sphere can be picked 
up, and its magic causes it to weigh only 1 pound, 
regardless of the weight of creatures inside. 

Belt of Dwarvenkind 


Type 

Strength 

Rarity 

Hifl giant 

21 

Rare 

Stone/frost giant 

23 

Very rare 

Fire giant 

25 

Very rare 

Cloud giant 

27 

Legendary 

Storm giant 

29 

Legendary 


Berserker Axe 

Weapon (any axe), rare (requires attunement) 

You gain a +1 bonus to attack and damage rolls made 
with this magic weapon. In addition, while you are 
attuned to this weapon, your hit point maximum 
increases by 1 for each level you have attained. 

Curse . This axe is cursed, and becoming attuned to it 
extends the curse to you* As long as you remain cursed, 
you are unwilling to part with the axe, keeping it within 
reach at all times* You also have disadvantage on attack 
rolls with weapons other than this one, unless no foe is 
within 60 feet of you that you can see or hear. 

Whenever a hostile creature damages you while the 
axe is in your possession* you must succeed on a DC 15 
Wisdom saving throw or go berserk* While berserk, you 
must use your action each round to attack the creature 
nearest to you with the axe. If you can make extra 
attacks as part of the Attack action, you use those extra 
attacks, moving to attack the next nearest creature after 
you fell your current target. If you have multiple possible 
targets, you attack one at random* You are berserk until 
you start your turn with no creatures within 60 feet of 
you that you can see or hear. 


Wondrous item, rare (requires attunement) 

W hile wearing this belL. you gain the follow ing benefits: 

- Your Constitution score increases by 2* to a 
maximum of 20* 

' You have advantage on Charisma (Persuasion) checks 
made to interact with dwarves. 

In addition, while attuned to the belt, you have a 50 
percent chance each day at dawn of grow ing a full beard 
if you're capable of growing one, or a visibly thicker 
beard if you already have one. 

If you aren’t a dwarf, you gain the following additional 
benefits while wearing the belt: 

- You have advantage on saving throws against poison, 
and you have resistance against poison damage. 

* You have darkvision out to a range of 60 feet. 

* You can speak* read, and w rite Dwarvish, 

Belt of Giant Strength 

Wondrous item, rarity varies (requires attunement) 

While wearing this belt* your Strength score changes to 
a score granted by the belt. If your Strength is already 
equal to or greater than the belt's score, the item has no 
effect on you. 

Six varieties of this belt exist, corresponding with and 
having rarity according to the six kinds of true giants. 


Boots of Elvenkind 

Wondrous item, uncommon 

While you wear these boots, your steps make no sound, 
regardless of the surface you are moving across. You 
also have advantage on Dexterity (Stealth) checks that 
rely on moving silently. 

Boots of Levitation 

Wondrous item, rare (requires attunement) 

While you wear these boots* you can use an action to 
cast the levitate spell on yourself at will. 

Boots of Speed 

Wondrous item , rare (requires attunement) 

While you wear these boots, you can use a bonus action 
and click the boots' heels together, Jf you do, the boots 
double vour walking speed, and any creature that makes 
an opportunity attack against you has disadvantage on 
the attack roll. If you click your heels together again, you 
end the effect* 

When the boots' property has been used for a total of 
10 minutes* the magic ceases to function until you finish 
a long rest. 


CHAPTER 7 


treasure 























Bn aher of Commanding 
Fire Elemental* 



Boots of Striding and Springing 

Wondrous item, uncommon (requires attunement) 

While you wear these hoots* your walking speed 
becomes 30 feet* unless your walking speed is higher, 
and your speed isn't reduced if you are encumbered 
or wearing heavy armor. In addition* you can jump 
three times the normal distance, though you can’t jump 
farther than your remaining movement would allow. 

Boots of the Winterlands 

Wondrous item, uncommon (requires attunement) 

These furred boots are snug and feel quite warm* While 
you wear them* you gain the following benefits; 

* You have resistance to cold damage* 

* You ignore difficult terrain created by ice or snow. 

- You can tolerate temperatures as low as —50 degrees 
Fahrenheit without any additional protection. If you 
wear heavy clothes, you can tolerate temperatures as 
low as -100 degrees Fahrenheit* 

Bowl of Commanding Water Elementals 

Wondrous item t rare 

While this bowl is filled with water, you can use an 
action to speak the bowl's command word and summon 
a water elemental, as if you had cast the conjure 
elemental spell* The bowl can't be used this way again 
until the next dawn. 

The bowl is about 1 foot in diameter and half as deep. 
It weighs 3 pounds and holds about 3 gallons. 

Bracers of Archery 

Wondrous item , uncommon (requires attunement) 

While wearing these bracers, you have proficiency 
with the longbow and shortbow* and you gain a +2 
bonus to damage rolls on ranged attacks made with 
such weapons. 


Boots of the 
Winterlands 


Bowl of Command s 
Water Elemental 


Bracers of Defense 

Wondrous item, rare (requires attunement) 

While wearing these bracers, you gain a +2 bonus to AC 
it you are wearing no armor and using no shield. 

Brazier of Commanding Fire Elementals 
Wondrous item, rare 

While a fire burns in this brass brazier, you can use 
an action to speak the brazier's command word and 
summon a fire elemental* as if you had cast the conjure 
elemental spell. The brazier can't be used this way agair 
until the next dawn* 

The brazier weighs 5 pounds* 

Brooch of Shielding 

Wondrous item „ uncommon (requires attunement) 

While wearing this brooch, you have resistance to force 
damage* and you have immunity to damage from the 
magic missile spell. 

Broom of Flying 
Wondrous item, uncommon 

This wooden broom, which weighs 3 pounds* functions 
like a mundane broom until you stand astride it and 
speak its command word. It then hovers beneath you 
and can be ridden in the air. It has a flying speed of 50 
feet It can carry up to 400 pounds, but its flying speed 
becomes 30 feet while carrying over 200 pounds. The 
broom stops hovering when you land. 

You can send the broom to travel alone to a 
destination within 1 mile of you if you speak the 
command word, name the location, and are familiar 
with that place. The broom comes back to you when you 
speak another command word, provided that the broom 
is still within 1 mile of you. 


CHAPTER 7 ; TREASURE 
























Boors of Strip ng 
and Springing 


Mountebank 


Candle of Invocation 

Wondrous item. very rare (requires attunemein) 

This slender taper is dedicated to a deity and shares 
that deity's alignment. The candle’s alignment can 
be detected with the detect evil and good spell The 
DM chooses the god and associated alignment or 
determines the alignment randomly. 


d2Q 

Alignment 

d20 

Alignment 

1-2 

Chaotic evil 

10-11 

Neutral 

3-4 

Chaotic neutral 

12-13 

Neutral good 

5-7 

Chaotic good 

14-15 

Lawful evil 

8-9 

Neutral evil 

16-17 

18-20 

Lawful neutral 
Lawful good 


The candle’s magic is activated when the candle is lit, 
which requires an action. After burning for 4 hours, the 
candle is destroyed. You can snuff it out early for use at 
a later time. Deduct the ti me it burned in increments of 
1 minute from the candle's total burn time. 

While lit, the candle sheds dim light in a 30-foot 
radius. Any creature within that light whose alignment 
matches that of the candle makes attack rolls, saving 
throws, and ability checks with advantage. In addition, a 
cleric or druid in the light whose alignment matches the 
candle’s can cast Ist-level spells he or she has prepared 
without expending spell slots, though the spells effect is 
as if cast with a Ist-level slot. 

Alternatively, when you light the candle for the first 
time, you can cast the gate spell with it. Doing so 
destroys the candle. 

Cap of Water Breathing 

\ Vondrous item t uncommon 

While wearing this cap underwater, you can speak its 
command word as an action to create a bubble of air 


Brooch 
of Shielding 


around your head. It allows you to breathe normally 
underwater. This bubble stays with you until you speak 
the command word again, the cap is removed, or you are 
no longer underwater. 

Cape of the Mountebank 
Wondrous item , rare 

This cape smells faintly of brimstone. While wearing 
it, you can use it to cast the dimension door spell as an 
action. This property of the cape can t be used again 
until the next dawn. 

When you disappear, you leave behind a cloud of 
smoke, and you appear in a similar cloud of smoke at 
your destination. The smoke lightly obscures the space 
you left and the space you appear in, and it dissipates 
at the end of your next turn. A light or stronger wind 
disperses the smoke. 

Carpet of Flying 
Wondrous item, very rare 

You can speak the carpet’s command word as an action 
to make the carpet hover and fly. It moves according to 
your spoken directions, provided that you are within 30 
feet of it. 

Four sizes of carpet of dying exist. The DM chooses 
the size of a given carpet or determines it randomly. 


dlOO 

Size 

Capacity 

Flying Speed 

01-20 

3 ft. x 5 ft. 

200 lb. 

SO feet 

21-55 

4 ft. x 6 ft. 

400 lb. 

60 feet 

56-80 

5 ft. x 7 ft. 

600 lb. 

40 feet 

81-100 

6 ft, x 9 ft. 

800 lb. 

30 feet 


A carpet can carry up to twice the weight shown on 
the table, but it flies at half speed if it carries more than 
its normal capacity. 


15 7 



CHAPTER 7 I TREASURE 












Censer of Controlling Air Elementals 

Wondrous item, rare 

While incense is burning in this censer, you can use 
an action to speak the censer's command word and 
summon an air elemental, as if you had cast the conjure 
elemental spell. The censer can't be used this way again 
until the next dawn. 

This 6-inch-wide, 1-foot-high vessel resembles a 
chalice with a decorated lid* It weighs 1 pound. 

Chime of Opening 
Wondrous item, rare 

This hollow metal tube measures about I foot long and 
weighs I pound. You can strike it as an action, pointing 
it at an object within 120 feet of you that can be opened, 
such as a door, lid, or lock. The chime issues a clear 
tone, and one lock or latch on the object opens unless 
the sound can't reach the object* If no locks or latches 
remain, the object itself opens. 

The chime can be used ten times. After the tenth time, 
it cracks and becomes useless. 

Circlet of Blasting 

Wondrous item * uncommon 

While wearing this circlet, you can use an action to 
cast the scorching ray spell with it* When you make the 
spell's attacks* you do so with an attack bonus of +5, The 
circlet can't be used this way again until the next dawn. 

Cloak of Arachnida 

Wondrous item, very rare (requires attunement) 

This fine garment is made of black silk interwoven with 
faint silvery threads. While wearing it, you gain the 
following benefits: 

* You have resistance to poison damage* 

* You have a climbing speed equal to your 
walking speed, 

CHAPTER 7 I TREASURE 


* You can move up. down, and across vertical surfaces 
and upside down along ceilings, while leaving your 
hands free* 

* You can't be caught in webs of any sort and can move 
through webs as if they were difficult terrain* 

* You can use an action to cast the web spell (save DC 

13), The web created by the spell fills twice its normal 
area. Once used, this property of the cloak can t be 
used again until the next dawn. 

Cloak of Displacement 

Wondrous item, rare (requires attunement) 

While you wear this cloak, it projects an illusion that 
makes you appear to be standing in a place near 
your actual location, causing any creature to have 
disadvantage on attack rolls against you* If you take 
damage, the property ceases to function until the 
start of your next turn. This property is suppressed 
while you are incapacitated, restrained, or otherwise 
unable to move. 

Cloak of Elvenkind 

Wondrous item , uncommon (requires attunement) 

While you wear this cloak with its hood up* Wisdom 
(Perception) checks made to see you have disadvantage* 
and you have advantage on Dexterity (Stealth) checks 
made to hide, as the cloak s color shifts to camouflage 
you. Pulling the hood up or down requires an action. 

Cloak of Invisibility 

Wondrous item , legendary (requires attunement) 

While wearing this cloak, you can pull its hood over 
your head to cause yourself to become invisible* While 
you are invisible, anything you are carrying or wearing 
is invisible with you. You become visible when you cease 
wearing the hood. Pulling the hood up or down requires 
an action. 


Cloak of Elvenkind 




Cloak of 
Protection 















Ch IMF OF 

Opening 


Deduct the time you are invisible, in increments of 1 
minute, from the cloak's maximum duration of 2 hours. 
After 2 hours of use* the cloak ceases to function. For 
every uninterrupted period of 12 hours the cloak goes 
unused, it regains 1 hour of duration. 

Cloak of Protection 

1 Vondrous item, uncommon (requires attunement) 

You gain a +1 bonus to AC and saving throws while you 
wear this cloak. 

Cloak of the Bat 
1 Vondrous item, rare (requires attunement) 

While wearing this cloak, you have advantage on 
Dexterity (Stealth) checks. In an area of dim light or 
darkness, you can grip the edges of the cloak with both 
hands and use it to fly at a speed of 40 feet, if you ever 
fail to grip the cloak's edges while Hying in this way, or if 
you are no longer in dim light or darkness, you lose this 
flying speed. 

While wearing the cloak in an area of dim light or 
darkness, you can use your action to cast polymorph on 
yourself, transforming into a bat. While you are in the 
form of the bat, you retain your Intelligence, Wisdom, 
and Charisma scores. The cloak can't be used this way 
again until the next dawn. 

Cloak of the Manta Ray 

l 1 bndrous item, uncommon 

While wearing this cloak with its hood up, you can 
real he underwater, and you have a swimming speed of 
60 feet. Pulling the hood up or down requires an action. 


CHAPTER 7 I TREASURK 


Crystal Ball 

Wondrous item, very rare or legendary 
(requires attunement) 

The typical crystal ball , a very rare 
item, is about 6 inches in diameter. While 
touching it, you can cast the scrying spell 
(save DC 17) with it. 

The following crystal ball variants are legendary 
items and have additional properties. 

Crystal Ball of Mind Reading, You can use an action 
to cast the detect thoughts spell (save DC 17) while you 
are scrying with the crystal bail , targeting creatures you 
can see within 30 feet of the spell's sensor. You don't 
need to concentrate on this detect thoughts to maintain 
it during its duration, but it ends if scrying ends. 

Crystal Bail of Telepathy. While scrying with the 
crystal ball, you can communicate telepathic ally with 
creatures you can see within 30 feet of the spell's 
sensor You can also use an action to cast the suggestion 
spell (save DC 17) through the sensor on one of those 
creatures. You don't need to concentrate on this 
suggestion to maintain it during its duration, but it ends 
if scrying ends. Once used, the suggestion power of the 
crystal ball can't be used again until the next dawn. 

Crystal Ball of True Seeing. While scrying with the 
crystal ball, you have truesight with a radius of 120 feet 
centered on the spell's sensor. 


Cure of Force 

Wondrous item , rare (requires attunement) 

This cube is about an inch across. Each face has a 
distinct marking on it that can be pressed. The cube 
starts with 36 charges, and it regains Id20 expended 
charges daily at dawn. 

You can use an action to press one of the cube's faces, 
expending a number of charges based on the chosen 
face, as shown in the Cube of Force Faces table. Each 












Cubic Gate 

Wondrous item, legendary 

This cube is 3 inches across and radiates palpable 
magical energy. The six sides of the cube are each 
keyed to a different plane of existence, one of which is 
the Material Plane. The other sides are linked to plane- 
determined by the DM. 

You can use an action to press one side of the cube tc 
cast the gate spell with it, opening a portal to the plane 
keyed to that side. Alternatively, if you use an action to 
press one side twice, you can cast the plane shift spell 
(save DC 17) with the cube and transport the targets to 
the plane keyed to that side. 

The cube has 3 charges. Each use of the cube expends 
1 charge. The cube regains ld3 expended charges 
daily at dawn, 

Daern’s Instant Fortress 

Wondrous item, rare 

You can use an action to place this ldnch metal cube 
on the ground and speak its command word. The cube 
rapidly grows into a fortress that remains until you use 
an action to speak the command word that dismisses it. 
which works only if the fortress is empty. 

The fortress is a square tower, 20 feet on a side 
and 30 feet high, with arrow slits on all sides and a 
battlement atop it. Its interior is divided into two floors, 
with a ladder running along one wall to connect them. 
The ladder ends at a trapdoor leading to the roof. When 
activated, the tower has a small door on the side facing 
you. The door opens only at your command, which 
you can speak as a bonus action, h is immune to the 
knock spell and similar magic, such as that of a chime 
of opening. 

Each creature in the area where the fortress appears 
must make a DC 15 Dexterity saving throw, taking 
lOdlO bludgeoning damage on a failed save, or half 
as much damage on a successful one. In either case, 
the creature is pushed to an unoccupied space outside 
but next to the fortress. Objects in the area that aren't 
being worn or carried take this damage and are pushed 
automatically. 


Cubic Gate 


face has a different effect. If the cube has insufficient 
charges remaining, nothing happens. Otherwise, a 
barrier of invisible force springs into existence, forming 
a cube 15 feet on a side. The barrier is centered on you, 
moves with you, and lasts for 1 minute, until you use an 
action to press the cube's sixth face, or the cube runs 
out of charges. You can change the barrier's effect by 
pressing a different face of the cube and expending the 
requisite number of charges, resetting the duration. 

If your movement causes the barrier to come into 
contact with a solid object that cant pass through the 
cube, you cank move any closer to that object as long as 
the barrier remains. 

Cube of Force Faces 

Face Charges Effect 

1 1 Cases, wind, and fog can't pass through 

the barrier, 

2 2 Nonliving matter can’t pass through the 

barrier Walls, floors, and ceilings can 

pass through at your discretion. 

3 3 Living matter can't pass through the 

barrier, 

4 4 Spell effects can’t pass through the 

barrier, 

5 5 Nothing can pass through the barrier. 

Walls, floors, and ceilings can pass 

through at your discretion. 

6 0 The barrier deactivates. 

The cube loses charges when the barrier is targeted 
by certain spells or comes into contact with certain spell 
or magic item effects, as shown in the table below. 

Spell or Item Charges Lost 

Disintegrate ld!2 

Horn of blasting IdlG 

Passwall ld6 

Prismatic spray ld20 

Wall office ld4 


CHAPTER 7 TREASURE 


Lbo 



















Dancing Sword 

Weapon (any sword), very rare (requires attunement) 

You can use a bonus action to toss this magic sword into 
the air and speak the command word. When you do so, 

■ he sword begins to hover, flies up to 30 feet, and attacks 
:me creature of your choice within 5 feet of it. The 
sword uses your attack roll and ability score modifier to 
damage rolls. 

While the sword hovers, you can use a bonus action to 
cause it to fly up to 30 feet to another spot within 30 feet 
cf you. As part of the same bonus action, you can cause 
the sword to attack one creature within 5 feet of it. 

After the hovering sword attacks for the fourth time, it 
dies up to 30 feet and tries to return to your hand. If you 
have no hand free, it falls to the ground at your feet. If 
the sword has no unobstructed path to you, it moves as 
use to you as it can and then falls to the ground. It also 
ceases to hover if you grasp it or move more than 30 feet 
vav from it. 


CHAPTER 7 I TREASU RE 


The tower is made of adamantine, and its magic 
prevents it from being tipped over. The roof, the door, 
and the walls each have 100 hit points, immunity to 
damage from non magical weapons excluding siege 
weapons, and resistance to all other damage. Only a 
wish spell can repair the fortress (this use of the spell 
counts as replicating a spell of 8th level or lower). Each 
casting of wish causes the roof t the door, or one wall to 
regain 50 hit points. 


Dagger of Venom 
\ Ye&pon (dagger), rare 

You gain a +1 bonus to attack and damage rolls made 
with this magic weapon. 

You can use an action to cause thick, black poison 
to coat the blade. The poison remains for 1 minute 
or until an attack using this weapon hits a creature. 
That creature must succeed on a DC 15 Constitution 
saving throw or take 2d 10 poison damage and become 
poisoned for 1 minute. The dagger can't be used this 
way again until the next dawn. 


Decanter of Endless Water 

Wondrous item, uncommon 

This stoppered flask sloshes when shaken, as if it 
contains water. The decanter weighs 2 pounds, 

You can use an action to remove the stopper and 
speak one of three command words, whereupon an 
amount of fresh water or salt water (your choice) pours 
out of the flask. The water stops pouring out at the start 
of your next turn. Choose from the following options: 

* “Stream" produces 1 gallon of water, 

* '‘Fountain ' produces 5 gallons of water. 

* “Geyser" produces 30 gallons of water that gushes 
forth in a geyser 30 feet long and 1 foot wide. As a 
bonus action while holding the decanter, you can aim 
the geyser at a creature you can see within 30 feet of 
you. The target must succeed on a DC 13 Strength 
saving throw or take ld4 bludgeoning damage and fall 
prone. Instead of a creature, you can target an object 
that isn't being worn or carried and that weighs no 
more than 200 pounds. The object is either knocked 
over or pushed up to 15 feet away from you. 

Deck of Illusions 

Wondrous item, uncommon 

This box contains a set of parchment cards. A full 
deck has 34 cards. A deck found as treasure is usually 
missing ld20- 1 cards. 

The magic of the deck functions only if cards are 
drawn at random (you canusean altered deck of playing 
cards to simulate the deck). You can use an action to 
draw a card at random from the deck and throw it to the 
ground at a point within 30 feet of you. 

An illusion of one or more creatures forms over the 
thrown card and remains until dispelled. An illusory 
creature appears real, of the appropriate size, and 
behaves as if it were a real creature (as presented in the 
Monster Manual ) t except that it can do no harm. While 
you are within 120 feet of the illusory creature and 
can see it, you can use an action to move it magically 
anywhere within 30 feet of its card. Any physical 
interaction with the illusory creature reveals it to be an 
illusion, because objects pass through it. Someone who 


Dancing Swqrd 






Da^rn's Instant 
Fortress. 





















uses an action to visually inspect the creature identifies 
it as illusory with a successful DC 15 Intelligence 
(Investigation) check. The creature then appears 
translucent. 

The illusion lasts until its card is moved or the illusion 
is dispelled. When the illusion ends, the image on its 
card disappears, and that card can t be used again. 


Playing Card 

Illusion 

Ace of hearts 

Red dragon 

King of hearts 

Knight and four guards 

Queen of hearts 

Succubus or incubus 

jack of h earts 

Druid 

Ten of hearts 

Cloud giant 

Nine ofhearts 

Ettin 

Eight ofhearts 

Bugbear 

Two ofhearts 

Goblin 

Ace of diamonds 

Beholder 

King of diamonds 

Archmage and mage apprentice 

Queen of diamonds 

Night hag 

Jack of diamonds 

Assassin 

Ten of diamonds 

Fire giant 

Nine of diamonds 

Ogre mage 

Eight of diamonds 

Gnoli 

Two of diamonds 

Kobold 

Ace of spades 

Lich 

King of spades 

Priest and two acolytes 

Queen of spades 

Medusa 

jack of spades 

Veteran 

Ten of spades 

Frost giant 

Nine of spades 

Troll 

Eight of spades 

Hobgoblin 

Two of spades 

Goblin 

Ace of clubs 

Iron golem 

King of dubs 

Bandit captain and three bandits 

Queen of dubs 

Erinyes 

Jack of dubs 

Berserker 

Ten of clubs 

'bB 

X 

Nine of dubs 

Ogre 

Eight of clubs 

Ore 

Two of dubs 

Kobold 

Jokers (2) 

You (the deck's owner) 


Deck of Many Things 

Wondrous item, legendary 

Usually found in a box or pouch, this deck contains 
a number of cards made of ivory or vellum. Most (75 
percent) of these decks have only thirteen cards, but the 
rest have twenty-two. 

Before you draw a card, you must declare how many 
cards you intend to draw and then draw them randomly 
(you can use an altered deck of playing cards to simulate 
the deck). Any cards drawn in excess of this number 
have no effect. Otherwise, as soon as you draw a card 
from the deck, its magic takes effect. You must draw 
each card no more than 1 hour after the previous draw. 
If you fail to draw the chosen number, the remaining 


number of cards fly from the deck on their own and tak- 
effect all at once. 

Once a card is drawn, it fades from existence, Unles- 
the card is the Fool or the jester, the card reappears 
in the deck, making it possible to draw r the same 
card twice. 


Playing Card 

Card 

Ace of diamonds 

Vizier* 

King of diamonds 

Sun 

Queen of diamonds 

Moon 

Jack of diamonds 

Star 

Two of diamonds 

Comet* 

Ace ofhearts 

The Fates* 

King ofhearts 

Throne 

Queen ofhearts 

Key 

jack ofhearts 

Knight 

Two of hearts 

Gem* 

Ace of clubs 

Talons* 

King of dubs 

The Void 

Queen of clubs 

Flames 

Jack of clubs 

Skull 

Two of clubs 

Idiot* 

Ace of spades 

Donjon* 

King of spades 

Ruin 

Queen of spades 

Euryale 

jack of spades 

Rogue 

Two of spades 

Balance* 

joker (with TM) 

Fool* 

joker (without TM) 

Jester 


*Found only in a deck with twenty-two cards 

Balance * Your mind suffers a wrenching alteration, 
causing your alignment to change. Lawful becomes 
chaotic, good becomes evil, and vice versa, if you are 
true neutral or unaligned, this card has no effect on you. 

Comet . If you single-handedly defeat the next hostile 
monster or group of monsters you encounter, you gain 
experience points enough to gain one level. Otherwise, 
this card has no effect. 

Donjon. You disappear and become entombed in a 
state of suspended animation in an extradimensional 
sphere. Everything you were wearing and carrying 
stays behind in the space you occupied when you 
disappeared. You remain imprisoned until you are found 
and removed from the sphere. You can't be located bv 


A Question of Enmity 

Two of the cards in a deck of many things can earn a character 
the enmity of another being. With the Flames card, the 
enmity is overt. The character should experience the devil's 
malevolent efforts on multiple occasions. Seeking out the 
fiend shou!dn f t be a simple task, and the adventurer should 
clash with the devil's allies and followers a few times before 
being able to confront the devil itself. 

In the case of the Rogue card, the enmity is secret and 
should come from someone thought to be a friend or an 
ally. As Dungeon Master, you should wait for a dramatically 
appropriate moment to reveal this enmity, leaving the 
adventurer guessing who is likely to become a betrayer 


CHAPTER 7 i TREASURE 



























































any divination magic, but a wish spell can reveal the 
location of your prison* You draw no more cards. 

Euryale. The cards medusa-like visage curses you* 
You take a —2 penalty on saving throws while cursed in 
this way. Only a god or the magic of The Fates card can 
end this curse. 

The Fates . Reality s fabric unravels and spins anew, 
allowing you to avoid or erase one event as if it never 
happened. You can use the card's magic as soon as you 
draw the card or at any other time before you die. 

Flames. A powerful devil becomes your enemy. The 
devil seeks your ruin and plagues your life, savoring 
your suffering before attempting to slay you. This enmity 
lasts until either you or the devil dies. 

Fool. You lose 10,000 XP, discard this card, and draw 
from the deck again, counting both draws as one of your 
declared draws. If losing that much XP would cause you 
to lose a level, you instead lose an amount that leaves 
you with just enough XP to keep your level. 

Gem. Twenty-five pieces of jewelry worth 2,000 
gp each or fifty gems worth 1,000 gp each appear at 
your feet. 

Idiot . Permanently reduce your Intelligence by ld4 + 1 
(to a minimum score of 1). You can draw' one additional 
card beyond your declared draws. 

Jester . You gain 10,000 XP. or you can draw two 
additional cards beyond vour declared draws. 

Key. A rare or rarer magic weapon with which you 
are proficient appears in your hands. The DM chooses 
the weapon. 

Knight. You gain the service of a 4th-level fighter who 
appears in a space you choose within 30 feet of you. The 
fighter is of the same race as you and serves you loyally 
until death, believing the fates have drawn him or her to 
you* You control this character. 

Moon. You are granted the ability to cast the wish 
spell 1d3 times. 

Rogue. A nonplayer character of the DM's choice 
becomes hostile toward you. The identity of your new 
enemy isn't known until the NPC or someone else 
reveals it. Nothing less than a wish spell or divine 
intervention can end the NPCs hostility toward you* 
Ruin. All forms of wealth that you carry or own, 
other than magic items, are lost to you* Portable 
property vanishes. Businesses, buildings, and land you 
own are lost in a way that alters reality the least. Any 
documentation that proves you should own something 
lost to this card also disappears. 

Skull. You summon an avatar of death—a ghostly 
humanoid skeleton clad in a tattered black robe and 
carrying a spectral scythe* It appears in a space of 
the DM’s choice within 10 feet of you and attacks you, 
warning all others that you must win the battle alone. 
The avatar fights until you die or it drops ro 0 hit points, 
whereupon it disappears. If anyone tries to help you, 
the helper summons its own avatar of death, A creature 
slain by an avatar of death can t be restored to life. 

Star: Increase one of your ability scores by 2, The 
score can exceed 20 but can't exceed 24, 

Sun. You gain 50,000 XP, and a wondrous item (which 
the DM determines randomly) appears in your hands. 


Avatar of Death 

Medium undead, neutral evil 


Armor Gass 20 

Hit Points half the hit point maximum ofits summoner 
Speed 60 ft,, fly 60 ft, (hover) 


STR DEX CON 1NT W1S CHA 

16 (+3) 16 (+3) 16 (+3) 16 (+3) 16 (+3) 16 (+3) 


Damage Immunities necrotic, poison 
Condition Immunities charmed, frightened, paralyzed, 
petrified, poisoned, unconscious 
Senses darkvision 60 ft., truesight 60 ft,, passive Perception 13 
Languages all languages known to its summoner 
Challenge — (QXP) 


Incorporeal Movement. The avatar can move through other 
creatures and objects as if they were difficult terrain, ft takes : 

(1 d 1D) force damage if it ends its turn inside an object. 

Turning Immunity * The avatar is immune to features that 
turn undead. 

Actions 

Reaping Scythe , The avatar sweeps its spectral scythe throng" 
a creature within 5 feet of it, dealing 7 (1 d3 + 3) slashing 
damage plus 4 (IdS) necrotic damage, 

r ~ - 1 

Talons. Every magic Item you wear or carry 
disintegrates. Artifacts in your possession aren't 
destroyed but do vanish. 

Throne. You gain proficiency in the Persuasion skill 
and you double your proficiency bonus on checks made 
with that skill* In addition, you gain rightful ownership 
of a small keep somewhere in the world* However, the 
keep is currently in the hands of monsters, which you 
must clear out before you can claim the keep as yours. 

Vizier. At any time you choose within one year of 
drawing this card, you can ask a question in meditation 
arid mentally receive a truthful answer to that question. 
Besides information, the answer helps you solve a 
puzzling problem or other dilemma* In other words, the 
know ledge comes with wisdom on how to apply it. 

The Void. This black card spells disaster. Your soul 
is drawn from your body and contained in an object in a 
place of the DM's choice. One or more powerful beings 
guard the place* While your soul is trapped in this way, 
your body is incapacitated. A wish spell can't restore 
your soul, but the spell reveals the location of the object 
that holds it. You draw no more cards. 

Defender 

Weapon (any sword), legendary (requires a mine me nt) 

You gain a +3 bonus to attack and damage rolls made, 
with this magic weapon. 

The first time you attack with the sword on each of 
your turns* you can transfer some or all of the sword's 
bonus to your Armor Class, instead of using the bonus 
on any attacks that turn. For example* you could reduce 
the bonus to your attack and damage rolls to +1 and gain 
a +2 bonus to AC. The adjusted bonuses remain in effect 


CHAPTER 7 


TREASURE 



























until the start of your next turn, although you must hold 
sword to gain a bonus to AC from it. 

Demon Armor 

\rmor (plate), very rare (requires attune ment) 

While wearing this armor, you gain a +1 bonus to AC, 
m you can understand and speak Abyssal. In addition, 
the armors clawed gauntlets turn unarmed strikes 
ith your hands into magic weapons that deal slashing 
damage, with a +1 bonus to attack rolls and damage 
~A \s and a damage die of ld8. 

Curse . Once you don this cursed armor, you can’t 
: ft it unless you are targeted by the remove curse spell 
- similar magic. While wearing the armor, you have 
:sadvantage on attack rolls against demons and on 
saving throws against their spells and special abilities. 

Dimensional Shackles 
1 \ ondrous item, rare 

\ u can use an action to place these shackles on 
an incapacitated creature. The shackles adjust to 
til a creature of Small to Large size. In addition to 
-crying as mundane manacles, the shackles prevent 
feature bound by them from using any method of 
-r radimensional movement, including teleportation 
c J travel to a different plane of existence. They 
n't prevent the creature from passing through an 
•erdimenstonal portal. 

You and any creature you designate when you use the 
shackles can use an action to remove them. Once every 
: J days, the bound creature can make a DC 30 Strength 
hletics) check. On a success, the creature breaks free 
ind destroys the shackles. 

Dragon Scale Mail 

4 rmor (scale mail), very rare (requires attune ment) 

[ ~agon scale mail is made of the scales of one kind 
t dragon. Sometimes dragons collect their cast-off 
s ales and gift them to humanoids. Other limes, hunters 
re fully skin and preserve the hide of a dead dragon. In 
her case, dragon scale mail is highly valued. 

While wearing this armor, you gain a +1 bonus to 
AC, you have advantage on saving throws against the 
Frightful Presence and breath weapons of dragons, 

-.nd you have resistance to one damage type that is 
determined by the kind of dragon that provided the 
scales (see the table). 

Additionally, you can focus your senses as an action 
magically discern the distance and direction to the 
losest dragon within 30 miles of you that is of the same 
ty pe as the armor. This special action can't be used 
;ain until the next dawn. 


Dragon 

Resistance 

Dragon 

Resistance 

Black 

Acid 

Gold 

Fire 

B : ue 

Lightning 

Green 

Poison 

B r ass 

Fire 

Red 

fire 

Bronze 

lightning 

Silver 

Cold 

Copper 

Acid 

White 

Cold 



Demon Armor 


Defender 


Dimensional. 

Shackles 


CHAPTER 7 I TREASURE 




J 

a 




























Dragon Slayer 


Efreeti Bottle 


Dwarven Thrower 


Dwarven Plate 


Dragon Slayer 

Weapon (any sword), rare 

You gain a +1 bonus to attack and damage rolls made 
with this magic weapon. 

When you hit a dragon with this weapon, the dragon 
takes an extra 3d6 damage of the weapons type. For 
the purpose of this weapon, “dragon” refers to any 
creature with the dragon type, including dragon turtles 
and wyverns. 

Driftglobe 

Wondrous item, uncommon 

This small sphere of thick glass weighs 1 pound. If you 
are within 60 feet of it, you can speak its command word 
and cause it to emanate the light or daylight spell. Once 
used, the daylight effect can’t be used again until the 
next dawn. 

You can speak another command word as an action to 
make the illuminated globe rise into the air and float no 
more than 5 feet off the ground. The globe hovers in this 
way until you or another creature grasps it. If you move 
more than 60 feet from the hovering globe, it follows 
you until it is within 60 feet of you. It takes the shortest 
route to do so. If prevented from moving, the globe sinks 
gently to the ground and becomes inactive, and its light 
winks out. 

Dust of Disappearance 

Wondrous item, uncommon 

Found in a small packet, this powder resembles very 
fine sand. There is enough of it for one use. When you 
use an action to throw the dust into the air, you and 


each creature and object within 10 feet of you become 
invisible for 2d4 minutes. The duration is the same for 
all subjects, and the dust is consumed when its magic 
takes effect. If a creature affected by the dust attacks or 
casts a spell, the invisibility ends for that creature. 

Dust of Dryness 

Wondrous item, uncommon 

This small packet contains ld6 + 4 pinches of dust. You 
can use an action to sprinkle a pinch of it over water. 
The dust turns a cube of water 15 feet on a side into one 
marble-sized pellet, which floats or rests near where the 
dust was sprinkled. The pellet’s weight is negligible. 

Someone can use an action to smash the pellet 
against a hard surface, causing the pellet to shatter and 
release the water the dust absorbed. Doing so ends that 
pellet’s magic. 

An elemental composed mostly of water that is 
exposed to a pinch of the dust must make a DC 13 
Constitution saving throw, taking 10d6 necrotic 
damage on a failed save, or half as much damage on a 
successful one. 

Dust of Sneezing and Choking 

Wondrous item, uncommon 

Found in a small container, this powder resembles very 
fine sand. It appears to be dust of disappearance, and an 
identify spell reveals it to be such. There is enough of it 
for one use. 

When you use an action to throw a handful of the 
dust into the air, you and each creature that needs to 
breathe within 30 feet of you must succeed on a DC 15 
Constitution saving throw or become unable to breathe. 


166 


CHAPTER 7 t TREASURE 




















Elemental Gems 


Dust of Sneeu^g 
and Choking 


while sneezing uncontrollably. A creature affected in 
his way is incapacitated and suffocating. As long as it 
is conscious, a creature can repeat the saving throw at 
he end of each of its turns, ending the effect on it on a 
success. The lesser restoration spell can also end the 
fleet on a creature. 


30 feet of you. See the Monster Manual for the efreeti s 
statistics. 

The first time the bottle is opened, the DM rolls to 
determine what happens. 


The efreeti attacks you. After fighting for 5 
rounds, the efreeti disappears, and the bottle 
loses its magic. 

The efreeti serves you for 1 hour, doing as you 
command. Then the efreeti returns to the bottle, 
and a new stopper contains it. The stopper can't 
be removed for 24 hours. The next two times the 
bottle is opened, the same effect occurs. If the 
bottle is opened a fourth time, the efreeti escapes 
and disappears, and the bottle loses its magic. 
The efreeti can cast the wish spell three times for 
you. It disappears when it grants the final wish or 
after 1 hour, and the bottle loses its magic. 


Dwarven Plate 

Armor (plate), very rare 

While wearing this armor, you gain a +2 bonus to AC. In 
.ddition. if an effect moves you against your will along 
the ground, you can use your reaction to reduce the 
distance you are moved by up to 10 feet. 

Dwarven Thrower 

\ r . capon (warhammer), very rare (requires at tenement 
by a dwarf) 

You gain a +3 bonus to attack and damage rolls made 
with this magic weapon. It has the thrown property with 
a normal range of 20 feet and a long range of 60 feet, 

\\ hen you hit with a ranged attack using this weapon, 

: deals an extra 1d8 damage or, if the target is a giant, 
2d8 damage. Immediately after the attack, the weapon 
' ies back to your hand. 


Efreeti Chain 

Armor (chain mail), legendary (requires attunement) 

While wearing this armor, you gain a +3 bonus to AC. 
you are immune to fire damage, and you can understand 
and speak Primordial. In addition, you can stand on and 
walk across molten rock as if it were solid ground. 

Elemental Gem 

Wondrous item T uncommon 

This gem contains a mote of elemental energy. W hen 
you use an action to break the gem. an elemental is 


Efreeti Bottle 
Wondrous Item t very rare 

I his painted brass bottle weighs 1 pound. When you 
use an action to remove the stopper, a cloud of thick 
smoke flows out of the bottle. At the end of vour turn, 
he smoke disappears with a flash of harmless fire, 
md an efreeti appears in an unoccupied space within 


CHAPTER 7 


TREASURE 























Eyes of Charming 


Golden Lions 


summoned as if you had cast the conjure elemental 
spell, and the gem s magic is lost. The type of gem 
determines the elemental summoned by the spell. 

Gem Summoned Elemental 

Blue sapphire Air elemental 

Yellow diamond Earth elemental 

Red corundum Fire elemental 

Emerald Water elemental 

Euxir of Health 

Potion, rare 

When you drink this potion, it cures any disease 
afflicting you, and it removes the blinded, deafened, 
paralyzed, and poisoned conditions. The clear red liquid 
has tiny bubbles of light in it. 

Elven Chain 

Armor (chain shirt), rare 

You gain a +1 bonus to AC while you wear this armor. 
You are considered proficient with this armor even if you 
lack proficiency with medium armor. 

Eversmoking Bottle 

Wondrous item , uncommon 

Smoke leaks from the lead-stoppered mouth of this 
brass bottle, which weighs 1 pound. When you use an 
action to remove the stopper, a cloud of thick smoke 
pours out in a 60-foot radius from the bottle. The 
cloud's area is heavily obscured. Each minute the 
bottle remains open and within the cloud, the radius 
increases by 10 feet until it reaches its maximum radius 
of 120 feet. 

CHAPTER 7 J TREASURE 


Eversmoking 

Bottle 


Ivory Goats 


The cloud persists as long as the bottle is open. 
Closing the bottle requires you to speak its command 
word as an action. Once the bottle is closed, the cloud 
disperses after 10 minutes. A moderate wind (11 to 20 
miles per hour) can also disperse the smoke after 1 
minute, and a strong wind (21 or more miles per hour) 
can do so after 1 round. 

Eyes of Charming 

Wondrous item , uncommon (requires attunement) 

These crystal lenses fit over the eyes. They have 3 
charges. While wearing them, you can expend 1 charge 
as an action to cast the charm person spell (save DC 13) 
on a humanoid w ithin 30 feet of you, provided that you 
and the target can see each other. The lenses regain all 
expended charges daily at dawn. 

Eyes of Minute Seeing 

Wondrous item . uncommon 

These crystal lenses fit over the eyes. While wearing 
them, you can see much better than normal out to a 
range of 1 foot. You have advantage on Intelligence 
(Investigation) checks that rely on sight while searching 
an area or studying an object wdthin that range. 

Eyes of the Eagle 

Wondrous item , uncommon (requires attunement) 

These crystal lenses fit over the eyes. While wearing 
them, you have advantage on Wisdom (Perception) 
checks that rely on sight. In conditions of clear visibility, 
you can make out details of even extremely distant 
creatures and objects as small as 2 feet across. 









Ebony Fly 


Figurine of Wondrous Power 
Wondrous item t rarity by figurine 

A figurine of wondrous power is a statuette of a beast 
small enough to fit in a pocket, if you use an action to 
speak the command word and throw the figurine to a 
point on the ground within 60 feet of you. the figurine 
becomes a living creature, if the space where the 
creature would appear is occupied by other creatures or 
objects, or if there isn't enough space for the creature, 
the figurine doesn't become a creature. 

The creature is friendly to you and your companions. 

It understands your languages and obeys your spoken 
commands. If you issue no commands, the creature 
defends itself but takes no other actions. See the 
Monster Manual for the creature's statistics, except for 
the giant fly. 

The creature exists for a duration specific to each 
figurine. At the end of the duration, the creature reverts 
to its figurine form. It reverts to a figurine early if it 
drops to 0 hit points or if you use an action to speak 
the command word again while touching it. When the 
creature becomes a figurine again, its property can't be 
used again until a certain amount of time has passed, as 
specified in the figurine's description. 

Bronze Griffon (Rare), This bronze statuette is of 
a griffon rampant. It can become a griffon for up to 6 
hours. Once it has been used, it can t be used again until 
5 days have passed. 

Ebony Fly (Rare), This ebony statuette is carved in 
the likeness of a horsefly, it can become a giant fly for 
up to 1 2 hours and can be ridden as a mount. Once 
it has been used, it can t be used again until 2 days 
have passed. 


Armor Class 11 

Hit Points 19 (3dl0 + 3) 

Speed 30 ft., fly 60 ft. 



STR DEX CON 

INT WIS 

CHA 

14 (+2) 13 (+1) 13 (+1) 

2 (-4) 10 (+0) 

3 (-4) 

Senses darkvision 60 ft,, passive Perception 10 

Languages — 



Golden Lions (Rare), These gold statuettes of lions 
are always created in pairs. You can use one figurine or 
both simultaneously. Each can become a lion for up to 1 
hour. Once a lion has been used, it can t be used again 
until 7 days have passed. 

Ivory Goats (Rare), These ivory statuettes of goats 
are always created In sets of three. Each goat looks 
unique and functions differently from the others. Their 
properties are as follows: 

* The goat of traveling can become a Large goat 
with the same statistics as a riding horse. It has 24 
charges, and each hour or portion thereof it spends 
in beast form costs 1 charge. While it has charges, 
you can use it as often as you wish. When it runs out 
of charges, it reverts to a figurine and can t be used 
again until 7 days have passed, when it regains all 
its charges, 

- The goat of travail becomes a giant goat for up to 3 
hours. Once it has been used, it can't be used again 
until 30 days have passed. 


169 




CHAPTER 7 I TREASURE 





















































* The goat of terror becomes a giant goat for up to 3 
hours- The goat can't attack, but you can remove its 
horns and use them as weapons. One horn becomes 
a lance . and the other becomes a +2 longsword. 
Removing a horn requires an action, and the weapons 
disappear and the horns return when the goat reverts 
to figurine form. In addition, the goat radiates a 
30-foot-radius aura of terror while you are riding It. 
Any creature hostile to you that starts its turn in the 
aura must succeed on a DC 15 Wisdom saving throw 
or be frightened of the goat for 1 minute, or until the 
goat reverts to figurine form. The frightened creature 
can repeat the saving throw at the end of each of its 
turns, ending the effect on itself on a success. Once 
it successfully saves against the effect, a creature is 
immune to the goat's aura for the next 24 hours. Once 
the figurine has been used, it can't be used again until 
15 days have passed. 

Marble Elephant (Rare)* This marble statuette is 
about 4 inches high and long. It can become an elephant 
for up to 24 hours. Once it has been used, it can’t be 
used again until 7 days have passed. 

Obsidian Steed (Very Rare). This polished obsidian 
horse can become a nightmare for up to 24 hours. The 
nightmare fights only to defend itself. Once It has been 
used, it can't be used again until 5 days have passed. 

If you have a good alignment, the figurine has a 10 
percent chance each time you use it to ignore your 
orders, including a command to revert to figurine form. 
If you mount the nightmare while it is ignoring your 
orders, you and the nightmare are instantly transported 
to a random location on the plane of Hades, where the 
nightmare reverts to figurine form. 

Onyx Dog (Rare)* This onyx statuette of a dog can 
become a mastiff for up to 6 hours. The mastiff has 


an Intelligence of 8 and can speak Common. It also 
has dark vision out to a range of 60 feet and can see 
invisible creatures and objects within that range. Once 
it has been used, it can't be used again until 7 days 
have passed. 

Serpentine Owl (Rare), This serpentine statuette of 
an owl can become a giant owl for up to 8 hours. Once 
it has been used, it can't be used again until 2 days have 
passed. The owl can telepathically communicate with 
you at any range if you and it are on the same plane of 
existence. 

Silver Raven (Uncommon)* This silver statuette of 
a raven can become a raven for up to 12 hours. Once it 
has been used, it can't be used again until 2 days have 
passed. While in raven form, the figurine allows you to 
cast the animal messenger spell on it at will. 

Flame Tongue 

Weapon (any sword), rare (requires attunement) 

You can use a bonus action to speak this magic sword - 
command word, causing flames to erupt from the blade 
These flames shed bright light in a 40-foot radius and 
dim light for an additional 40 feet. While the sword is 
ablaze, it deals an extra 2d6 fire damage to any target 
it hits. The flames last until you use a bonus action to 
speak the command word again or until you drop or 
sheathe the sword. 

Folding Boat 
Wondrous item, rare 

This object appears as a wooden box that measures 1 - 
inches long, 6 inches wide, and 6 inches deep. It weighs 
4 pounds and floats. It can be opened to store items 
inside. This item also has three command words, each 
requiring you to use an action to speak it. 


CHAPTER 7 I TREASURE 



















One command word causes the box to unfold into a 
: at 10 feet long* * 4 feet wide* and 2 feet deep. The boat 
has one pair of oars, an anchor, a mast, and a lateen 
sail. The boat can hold up to four Medium creatures 
mfort ably, 

I The second command word causes the box to unfold 
into a ship 24 feet long* 8 feet wide, and 6 feet deep* 
he ship has a deck, rowing seats, five sets of oars, a 
steering oar* an anchor* a deck cabin, and a mast with a 
square sail. The ship can hold fifteen Medium creatures 
: omfortably. 

When the box becomes a vessel* its weight becomes 
u of a normal vessel its size, and anything that was 
sr red in the box remains in the boat. 

The third command word causes the folding boat 
fold back into a box, provided that no creatures arc 

I aboard. Any objects in the vessel that can't fit inside the 
x remain outside the box as it folds. Any objects in the 
esse! that can fit inside the box do so. 

Frost Brand 

W eapon (any sword), very rare (requires at tunement) 

W hen you hit with an attack using this magic sword, 

- target takes an extra ld6 cold damage* In addition* 
while you hold the sword, you have resistance to 

i t re damage, 

m freezing temperatures, the blade sheds 
: jhi light in a 10-foot radius and dim light for an 
l iditional 10 feet. 

When you draw this weapon, you can extinguish all 
■ :n magical dames within 30 feet of you. This property 
t an be used no more than once per hour. 


Gauntlets of Ogre Power 

Wondrous item , uncommon (requires attunement) 

Your Strength score is 19 while you wear these 

gaunt lets. They have no effect on you if your Strength is 
already 19 or higher. 

Gem of Brightness 

Wondrous item, uncommon 

This prism has 50 charges. While you are holding it. you 
can use an action to speak one of three command words 
to cause one of the following effects; 

« The first command word causes the gem to shed 
bright light in a 30-foot radius and dim light for 
an additional 30 feet. T his effect doesn't expend a 
charge. It lasts until you use a bonus action to repeat 
the command word or until you use another function 
of the gem. 

* The second command word expends 1 charge and 
causes the gem to fire a brilliant beam of light at 
one creature you can see within 60 feet of you. The 
creature must succeed on a DC 15 Constitution saving 
throw or become blinded for l minute. The creature 
can repeat the saving throw at the end of each of its 
turns, ending the effect on itself on a success. 

* The third command word expends 5 charges and 
causes the gem to flare with blinding light in a 30-foot 
cone originating from it. Each creature in the cone 
must make a saving throw as if struck by the beam 
created with the second command word. 

When all of the gem’s charges are expended, the gem 
becomes a non magical jewel worth 50 gp. 




i7t 



CHAPTER 7 | TREASURE 
















Gem of Seeing 


Goggles of Night 


Gloves of 
Missile Snaring 


172 





Gem of Seeing 

Wondrous item, rare (requires attunement) 

This gem has 3 charges. As an action, you can speak 
the gem’s command word and expend 1 charge. For the I 
next 10 minutes, you have truesight out to 120 feet wheJ 
you peer through the gem. ■ 

The gem regains ld3 expended charges daily at dawrJ 

Giant Slayer I 

Weapon (any axe or sword), rare 

You gain a +1 bonus to attack and damage rolls made 
with this magic weapon. 

When you hit a giant with it, the giant takes an extra 
2d6 damage of the weapon’s type and must succeed on 1 
a DC 15 Strength saving throw or fall prone. For the 
purpose of this weapon, "giant’’ refers to any creature 
with the giant type, including ettins and trolls. 

Glamoured Studded Leather 

Armor (studded leather), rare 

While wearing this armor, you gain a +1 bonus to AC. 

You can also use a bonus action to speak the armor’s 
command word and cause the armor to assume the 
appearance of a normal set of clothing or some other 
kind of armor. You decide what it looks like, including 
color, style, and accessories, but the armor retains its 
normal bulk and weight. The illusory appearance last- 
until you use this property again or remove the armor. 

Gloves of Missile Snaring I 

Wondrous item. uncommon (requires attunement) 

These gloves seem to almost meld into your hands whemj 
you don them. When a ranged weapon attack hits you 
while you're wearing them, you can use your reaction to. 
reduce the damage by Id 10 + your Dexterity modifier, 
provided that you have a free hand. If you reduce the 
damage to 0. you can catch the missile if it is small 
enough for you to hold in that hand. 

Gloves of Swimming and Climbing 

Wondrous item, uncommon (requires attunement) 

While wearing these gloves, climbing and swimming 
don’t cost you extra movement, and you gain a +5 bonu- 
to Strength (Athletics) checks made to climb or swim. 

Gloves of Thievery 

Wondrous item, uncommon 

These gloves are invisible while worn. While wearing 
them, you gain a +5 bonus to Dexterity (Sleight of Hand) 
checks and Dexterity checks made to pick locks. 

Goggles of Night 

Wondrous item, uncommon 

While wearing these dark lenses, you have darkvision 
out to a range of 60 feet. If you already have darkvision. 
wearing the goggles increases its range by 60 feet. 


CHAPTER 7 | TREASURE 























Hammer of Thunderbolts 

1 Veapon (maul), legendary 

You gain a +1 bonus to attack and damage rolls made 
with this magic weapon. 

Giant’s Bane (Requires Attunement), Yoti must 
be wearing a belt of giant strength (any variety) and 
gauntlets of ogre power to attune to this weapon. The 
attunement ends if you take off either of those items. 
While you are attuned to this weapon and holding it. 
your Strength score increases by 4 and can exceed 20, 
but not 30. When you roll a 20 on an attack roll made 
with this weapon against a giant, the giant must succeed 
on a DC 17 Constitution saving throw or die. 

The hammer also has 5 charges. While attuned to it, 
you can expend 1 charge and make a ranged weapon 
attack with the hammer, hurling it as if it had the thrown 
property with a normal range of 20 feet and a long range 
of 60 feet. If the attack hits, the hammer unleashes 
a thunderclap audible out to 300 feet. The target and 
every creature within 30 feet of it must succeed on a 
DC 17 Constitution saving throw or be stunned until 
the end of your next turn. The hammer regains ld4 + 1 
expended charges daily at dawn. 

Hat of Disguise 

Wondrous item, uncommon (requires attunement) 

While wearing this hat, you can use an action to cast the 
disguise self spell from it at will. The spell ends if the 
hat is removed. 

Headband of Intellect 

Wondrous item, uncommon (requires attunement) 

Your Intelligence score is 19 while you wear this 
headband. It has no effect on you if your Intelligence is 
already 19 or higher. 

Helm of Brilliance 

Wondrous item , very rare (requires attunement) 

This dazzling helm is set with Id 10 diamonds, 2d 10 
rubies, 3dlQ fire opals, and 4dlG opals. Any gem pried 
from the helm crumbles to dust. When all the gems are 
removed or destroyed, the helm loses its magic. 

You gain the following benefits while wearing it: 

* You can use an action to cast one of the following 
spells (save DC 18), using one of the helm's gems of 
the specified type as a component: daylight (opal), 
fireball (fire opal), prismatic spray (diamond), or wall 
of fire (ruby). The gem is destroyed when the spell is 
cast and disappears from the helm, 

* As long as it has at least one diamond, the helm emits 
dim light in a 30-foot radius when at least one undead 
is within that area. Any undead that starts its turn in 
that area takes ld6 radiant damage, 

* As long as the helm has at least one ruby, you have 
resistance to fire damage, 

* As long as the helm has at least one fire opal, you can 
use an action and speak a command word to cause 
one weapon you are holding to burst into flames. 

The flames emit bright light in a 10-foot radius and 
dim light for an additional 10 feet. The flames are 
harmless to you and the weapon. When you hit with 



llAMMfR OF 

Thunderbolts 


Helm of Brilliance 


Helm of 
Comprehending Languages 


an attack using the blazing weapon, the target takes 
an extra ld6 fire damage. The flames last until you 
use a bonus action to speak the command word again 
or until you drop or stow the weapon. 

Roll a d20 if you are wearing the helm and take fire 
damage as a result of failing a saving throw against a 
spell. On a roll of 1, the helm emits beams of light from 
its remaining gems. Each creature within 60 feet of the 
helm other than you must succeed on a DC 17 Dexterity 
saving throw or be struck by a beam, taking radiant 
damage equal to the number of gems in the helm. The 
helm and its gems are then destroyed. 

Helm of Comprehending Languages 

Wondrous item, uncommon 

While wearing this helm, you can use an action to cast 
the comprehend languages spell from it at will. 


CHAPTER 7 I TREASURE 











L 



Helm, of Teleportation 


Hel m of Telepathy 



Hewaro's Hamdy Haversack 


Helm of Telepathy 

Wondrous item , uncommon (requires attunement) 

While wearing this helm, you can use an action to cast 
the detect thoughts spell (save DC 13) from it. As long as 
you maintain concentration on the spell, you can use a 
bonus action to send a telepathic message to a creature 
you are focused on. It can reply—using a bonus action to 
do so—while your focus on it continues* 

While focusing on a creature with detect thoughts, 
you can use an action to cast the suggestion spell (save 
DC 13) from the helm on that creature. Once used, 
the suggestion property can t be used again until the 
next dawn. 

Helm of Teleportation 

Wondrous item, rare (requires attunement) 


haversack ruptures and is destroyed. If the haversack 
is destroyed, its contents arc lost forever, although 
an artifact always turns up again somewhere. If the 
haversack is turned inside out, its contents spill forth* 
unharmed, and the haversack must be put right before 
it can be used again. If a breathing creature is placed 
within the haversack, the creature can survive for up to 
10 minutes, after which time it begins to suffocate. 

Placing the haversack inside an extradimensional 
space created by a bag of holding, portable hole , or 
similar item instantly destroys both items and opens 
a gate to the Astral Plane* The gate originates where 
the one item was placed inside the other* Any creature 
within 10 feet of the gate is sucked through it and 
deposited in a random location on the Astral Plane. 

The gate then closes* The gate is one-way only and can't 
be reopened. 


This helm has 3 charges* While wearing it, you can 
use an action and expend 1 charge to cast the teleport 
spell from it. The helm regains ld3 expended charges 
daily at dawn. 


Holy Avenger 

Weapon (any sword), legendary (requires attunement by 
a paladin) 



Heward’s Handy Haversack 
Wondrous item, rare 

This backpack has a central pouch and two side 
pouches, each of which is an extradimensional space. 
Each side pouch can hold up to 20 pounds of material, 
not exceeding a volume of 2 cubic feet* The large 
central pouch can hold up to S cubic feet or 80 pounds 
of mate rial* The backpack always weighs 5 pounds, 
regardless of its contents* 

Placing an object in the haversack follows the normal 
rules for interacting with objects. Retrieving an item 
from the haversack requires you to use an action. When 
you reach into the haversack for a specific item, the item 
is always magically on top. 

The haversack has a few limitations* If it is 
overloaded, or if a sharp object pierces it or tears it, the 


You gain a +3 bonus to attack and damage rolls made 
with this magic weapon. When you hit a fiend or an 
undead with it, that creature takes an extra 2d 10 I 

radiant damage, I 

While you hold the drawn sword, it creates an aura 
in a 10-foot radius around you. You and all creatures ■ 
friendly to you in the aura have advantage on saving 
throws against spells and other magical effects. If you 
have 17 or more levels in the paladin class, the radius of 
the aura increases to 30 feet, 

Horn of Blasting I 

Wondrous itenr rare 

You can use an action to speak the horn's command 
word and then blow the horn, which emits a thunderous 
blast in a 30-foot cone that is audible 600 feet away. 

Each creature in the cone must make a DC 15 


CHAPTER 7 I TREASURE 
174 















































Immovable Roo 


Horn of Blasting 


Holy Avenger 




Morn of Valhalla 




Constitution saving throw. On a failed save, a creature 
akes 5d6 thunder damage and is deafened for 1 minute. 
On a successful save, a creature takes half as much 
damage and isn't deafened. Creatures and objects made 
f glass or crystal have disadvantage on the saving 
rhrow and take 10d6 thunder damage instead of 5d6. 

Each use of the horn’s magic has a 20 percent chance 
of causing the horn to explode. The explosion deals 
10d6 fire damage to the blower and destroys the horn. 

Horn of Valhalla 

Wondrous item, rare (silver or brass), very rare (bronze), 
or legendary (iron) 

You can use an action to blow this horn. In response, 
warrior spirits from the plane of Ysgard appear within 
60 feet of you. These spirits use the berserker statistics 
from the Monster Manual. They return to Ysgard after 1 
hour or when they drop to 0 hit points. Once you use the 
horn, it can’t be used again until 7 days have passed. 

Four types of horn of Valhalla are known to exist, each 
made of a different metal. The horn’s type determines 
how many berserkers answer its summons, as well as 
the requirement for its use. The DM chooses the horn’s 
type or determines it randomly. 

Berserkers 


dl00 

Horn Type 

Summoned 

Requirement 

01-40 

Silver 

2d4 + 2 

None 

41-75 

Brass 

3d4 + 3 

Proficiency with all 
simple weapons 

76-90 

Bronze 

4d4 + 4 

Proficiency with all 
medium armor 

91-00 

Iron 

5d4 + 5 

Proficiency with all 
martial weapons 


If you blow the horn without meeting its requirement, 
the summoned berserkers attack you. If you meet 
the requirement, they are friendly to you and your 
companions and follow your commands. 

Horseshoes of a Zephyr 

Wondrous item, very rare 

These iron horseshoes come in a set of four. While all 
four shoes are affixed to the hooves of a horse or similar 
creature, they allow the creature to move normally 
while floating 4 inches above the ground. This effect 
means the creature can cross or stand above nonsolid 
or unstable surfaces, such as water or lava. The 
creature leaves no tracks and ignores difficult terrain. In 
addition, the creature can move at normal speed for up 
to 12 hours a day without suffering exhaustion from a 
forced march. 

Horseshoes of Speed 

Wondrous item, rare 

These iron horseshoes come in a set of four. While all 
four shoes are affixed to the hooves of a horse or similar 
creature, they increase the creature's walking speed 
by 30 feet. 

Immovable Rod 

Rod, uncommon 

This flat iron rod has a button on one end. You can use 
an action to press the button, which causes the rod to 
become magically fixed in place. Until you or another 
creature uses an action to push the button again, the 
rod doesn’t move, even if it is defying gravity. The rod 
can hold up to 8,000 pounds of weight. More weight 
causes the rod to deactivate and fall. A creature can use 
an action to make a DC 30 Strength check, moving the 
fixed rod up to 10 feet on a success. 

CHAPTER 7 | TREASURE 

175 
















Doss Lute 



Canaith 

Mandolin 


Mac 


Fu 


RM 


OH 


C 


T E R 


N 


A 




Mar 


Instrument of the Bards 

1 Vondrous item, rarity varies (requires attunement by a 
bard) 

An instrument of the bards is an exquisite example of it* 
kind, superior to an ordinary instrument in every way. 
Seven types of these instruments exist, each named 
after a legendary bard college. The following table lists 
the spells common to all instruments, as well as the 
spells specific to each one and its rarity. A creature that 
attempts to play the instrument without being attuned 
to it must succeed on a DC 15 Wisdom saving throw or 
take 2d4 psychic damage. 

You can use an action to play the instrument and cas' 
one of its spells. Once the instrument has been used to 
cast a spell it can t be used to cast that spell again until 
the next dawn. The spells use your spellcasting ability 
and spell save DC. 

When you use the instrument to cast a spell that 
causes targets to become charmed on a failed save, the 
targets have disadvantage on the saving throw. This 
effect applies whether you are using the instrument as 
the source of the spell or as a spellcasting Focus, 


Instrument 

All 


Anstruth harp Very rare 

Canaith Rare 

mandolin 


Cli lyre 
Doss lute 


Fochlucan 
bandore 
Mac-Fuirmidh 
cittern 
Qllamh harp 


Rarity Spells 

— invisibility, levitate, 

protection from evil and good, 
plus the spells listed for the 
particular instrument 
Control weather, cure wound $ 
(5th level), wall of thorns 
Cure wounds (3rd level), dispel 
magic , protection from energy 
(lightning only) 

Stone shape, watt of fire, wind 
wall 

Uncommon Animal friendship, protection 
from energy (fire only), 
protection from poison 

Uncommon Entangle, faerie fire, shillelagh t 
speak with animals 

Uncommon Barkskin, cure wounds, fog 
cloud 

Confusion, control weather, fire 
storm 


Rare 


Legendary 


Ioun Stone 

Wondrous item, rarity varies (requires attunement) 

An Ioun stone is named after Ioun, a god of knowledge 
and prophecy revered on some worlds. Many types of 
loan stone exist, each type a distinct combination of 
shape and color. 

When you use an action to toss one of these stones 
into the air, the stone orbits your head at a distance 
of ld3 feet and confers a benefit to you. Thereafter, 
another creature must use an action to grasp or net 
the stone to separate it from you T either by making a 
successful attack roll against AC 24 or a successful DC 
24 Dexterity (Acrobatics) check. You can use an action 
to seize and stow the stone, ending its effect. 


Cli Lyre 


CHAPTER 7 bTREASU RE 












































































































A stone has AC 24* 10 hit points, and resistance to all 
damage. It is considered to be an object that is being 
worn while it orbits your head. 

Absorption (Very Rare). While this pale lavender 
ellipsoid orbits your head, vou can use your reaction to 
cancel a spell of 4th level or lower cast by a creature you 
can see and targeting only you. 

Once the stone has canceled 20 levels of spells, it 
burns out and turns dull gray. Losing its magic. If you 
are targeted by a spell whose level is higher than the 
number of spell levels the stone has left, the stone can t 
cancel it. 

Agility (Very Rare). Your Dexterity score increases by 
2. to a maximum of 20. while this deep red sphere orbits 
your head, 

Awareness (Rare). You can’t be surprised while this 
lark blue rhomboid orbits your head. 

Fortitude (Very Rare). Your Constitution score 
increases by 2, to a maximum of 20, while this pink 
rhomboid orbits your head. 

Grea ter A bsorption (Legen dary). Wh Oe th is ma rble d 
lavender and green ellipsoid orbits your head, you can 
use your reaction to cancel a spell of 8th level or lower 
cast by a creature you can see and targeting only you. 

Once the stone has canceled 50 levels of spells, it 
burns out and turns dull gray, losing its magic. If you 
are targeted by a spell whose level is higher than the 
number of spell levels the stone has left, the stone can't 
cancel it. 

Insight (Very Rare). Your Wisdom score increases 
by 2, to a maximum of 20, while this incandescent blue 
sphere orbits your head. 

Intellect (Very Rare). Your Intelligence score 
increases by 2. to a maximum of 20, while this marbled 
scarlet and blue sphere orbits your head. 

Leadership (Very Rare). Your Charisma score 
ncrcases by 2, to a maximum of 20, while this marbled 
pink and green sphere orbits your head. 

Mastery (Legendary). Your proficiency bonus 
increases by 1 while this pale green prism orbits 
vourhead. 

Protection (Rare). You gain a +1 bonus to AC while 
this dusty rose prism orbits your head. 

Regeneration (Legendary). You regain 15 hit points 
at the end of each hour this pearly white spindle orbits 
your head, provided that you have at least 1 hit point. 

Reserve (Rare). This vibrant purple prism stores 
spells cast into it, holding them until you use them. The 
stone can store up to 3 levels worth of spells at a time. 
When found, it contains ld4 - 1 levels of stored spells 
chosen by the DM, 

Any creature can cast a spell of 1st through 3rd level 
into the stone by touching it as the spell is cast. The 
spell has no effect, other than to be stored in the stone. 

If the stone can t hold the spell, the spell is expended 
without effect. The level of the slot used to cast the spell 
determines how much space it uses. 

While this stone orbits your head, you can cast any 
spell stored in it. The spell uses the slot level, spell save 
DC, spell attack bonus, and spellcasting ability of the 
original caster, but is otherwise treated as if you cast the 





spell. The spell cast from the stone is no longer stored in 
it, freeing up space. 

Strength (Very Rare). Your Strength score increases 
by 2. to a maximum of 20, while this pale blue rhomboid 
orbits your head. 

Sustenance (Rare). You don’t need to eat or drink 
while this clear spindle orbits your head. 

Iron Bands of Bilarro 

Wondrous item, rare 

This rusty iron sphere measures 3 inches in diameter 
and weighs 1 pound. You can use an action to speak 
the command word and throw the sphere at a Huge or 
smaller creature you can see within 60 feet of you. As 
the sphere moves through the air, it opens into a tangle 
of metal bands. 

Make a ranged attack roll with an attack bonus equal 
to your Dexterity modifier plus your proficiency bonus. 
On a hit, the target is restrained until you take a bonus 
action to speak the command word again to release it. 
Doing so, or missing with the attack, causes the bands 
to contract and become a sphere once more. 

A creature, including the one restrained, can use an 
action to make a DC 20 Strength check to break the 
iron bands. On a success, the item is destroyed, and 
the restrained creature is freed. If the check fails, any 
further attempts made by that creature automatically 
fail until 24 hours have elapsed. 

Once the bands are used, they can’t be used again 
until the next dawn. 


GHAFTE R 7 I TREA50RE 


177 








I 


1 


I 

i 

t 

i 


/ 


* 

\ 



Iron Flask 
Wondrous item. legendary 

This iron bottle has a brass stopper Yon can use an 
action to speak the flask’s command word, targeting a 
creature that you can see within 60 feet of you. If the 
target is native to a plane of existence other than the one 
you're on* the target must succeed on a DC 17 Wisdom 
saving throw or be trapped in the flask. If the target has 
been trapped by the flask before, it has advantage on the 
saving throw. Once trapped, a creature remains in the 
flask until released. The flask can hold only one creature 
at a time. A creature trapped in the flask doesn't need to 
breathe, eat, or drink and doesn't age. 

You can use an action to remove the flask s stopper 
and release the creature the flask contains. The creature 
is friendly to you and your companions for 1 hour and 
obeys your commands for that duration. If you give no 
commands or give it a command that is likely to result 
in its death, it defends itself but otherwise takes no 
actions. At the end of the duration, the creature acts in 
accordance with its normal disposition and alignment. 

An identify spell reveals that a creature is inside 
the flask, but the only way to determine the type of 
creature is to open the flask. A newly discovered bottle 
might already contain a creature chosen by the DM or 
determined randomly. 


dlOO 

Contents 

dl00 

Contents 

01-50 

Empty 

77-78 

Elemental (any) 

51 

Arcana loth 

79 

Githyanki knight 

52 

Cambion 

SO 

Githzerai zerth 

53-54 

Dao 

S1-S2 

Invisible stalker 

55-57 

Demon (type 1) 

£3-84 

Marid 

53=60 

Demon (type 2) 

85-86 

Mezzoloth 

61-62 

Demon (type 3) 

87-88 

Night hag 

63-64 

Demon (type 4) 

89-90 

Nycaloth 

65 

Demon (type 5) 

91 

Planetar 

66 

Demon (type 6) 

92-93 

Salamander 

67 

Deva 

94-95 

Slaad (any) 

68-69 

Devil (greater) 

96 

Solar 

70-72 

Devil (lesser) 

97-98 

Succubus/incubus 

73-74 

Djinni 

99 

Ultroloth 

75-76 

Efreeti 

00 

Xorn 


Javelin of Lightning 

Weapon (javelin), uncommon 

This javelin is a magic weapon. When you hurl it and 
speak its command word, it transforms into a bolt of 
lightning, forming a line 5 feet wide that extends out 
from you to a target within 120 feet. Each creature in 
the line excluding you and the target must make a DC 13 
Dexterity saving throw, taking 4d6 lightning damage on 
a failed save, and half as much damage on a successful 
one. The lightning bolt turns back into a javelin when 
it reaches the target. Make a ranged weapon attack 
against the target. On a hit, the target takes damage 
from the javelin plus 4d6 lightning damage. 

The javelin’s property can’t be used again until the 
next dawn. In the meantime, the javelin can still be used 
as a magic weapon. 



Iron Flask 


Lantern of 
Revealing 


CHAPTER 7 | TREASURE 














Keoghtom's Ointment 

51 androns item , uncommon 

\ his glass jar, 3 inches in diameter, contains U14 + 1 
doses of a thick mixture that smells faintly of aloe. The 
jar and its contents weigh 1/2 pound. 

As an action, one dose of the ointment can be 
swallowed or applied to the skin. The creature that 
receives it regains 2d8 + 2 hit points, ceases to be 
poisoned, and is cured of any disease. 

Lantern of Revealing 
Wondrous item ♦ uncommon 

While lit, this hooded lantern burns for 6 hours on 1 pint 
of oil. shedding bright light in a 3QToot radius and dim 
light for an additional 30 feet. Invisible creatures and 
objects are visible as long as they are in the lantern’s 
bright light. You can use an action to lower the hood, 
reducing the light to dim light in a 5-foot radius. 

Luck Blade 

Weapon (any sword), legendary (requires attunement) 

You gain a +1 bonus to attack and damage rolls made 
with this magic weapon. While the sword is on your 
person, you also gain a +1 bonus to saving throws. 

Luck. If the sword is on your person, you can call 
on its luck (no action required) to reroll one attack roll 
ability check, or saving throw you dislike. You must use 
the second roll This property can’t be used again until 
the next dawn. 

Wish. The sword has ld4 - 1 charges. While holding 
it, you can use an action to expend 1 charge and cast 
the wish spell from it. This property can’t be used again 
until the next dawn. The sword loses this property if it 
has no charges. 

Mace of Disruption 

Weapon (mace), rare (requires attunement) 

When you hit a liend or an undead with this magic 
weapon, that creature takes an extra 2d6 radiant 
damage. If the target has 25 hit points or fewer after 
taking this damage, it must succeed on a DC 15 Wisdom 
saving throw or be destroyed. On a successful save, the 
creature becomes frightened of you unti l the end of your 
next turn. 

While you hold this weapon, it sheds bright light in a 
20-foot radius and dim light for an additional 20 feet. 

Mace of Smiting 

Weapon (mace), rare 

You gain a +1 bonus to attack and damage rolls made 
with this magic weapon. The bonus increases to +3 
when you use the mace to attack a construct. 

When you roll a 20 on an attack roll made with 
this weapon, the target takes an extra 7 bludgeoning 
damage, or an extra 14 bludgeoning damage if ids a 
construct. If a construct has 25 hit points or fewer after 
taking this damage, it is destroyed. 


CHAPTER 7 | TREASURE 


]7Q 




















Mantle of 
Spell Resistance 


Manual of Clay Golems 


Mace of Terror 






T =■• * *-* ^ x /r 


Manual of 
Stone Golems 


Mace of Terror 

l Veapon (mace), rare (requires attune went) 

This magic weapon has 3 charges. While holding it, 
you can use an action and expend 1 charge to release a 
wave of terror. Each creature of your choice in a 30-foc: 
radius extending from you must succeed on a DC 15 
Wisdom saving throw or become frightened of you for 
1 minute. While it is frightened in this way, a creature 
must spend its turns trying to move as far away from yc - 
as it can, and it can't willingly move to a space within 
30 feet of you. It also can t take reactions. For its action 
it can use only the Dash action or try to escape from ar. 
effect that prevents it from moving. If it has nowhere it 
can move, the creature can use the Dodge action. At the 
end of each of its turns, a creature can repeat the saving 
throw, ending the effect on itself on a success. 

The mace regains ld3 expended charges 
daily at dawn. 

Mantle of Spell Resistance 

Wondrous item, rare (requires at tune went) 

You have advantage on saving throws against spells 
while you wear this cloak. 

Manual of Bodily Health 
Wondrous item, very rare 

This book contains health and diet tips, and its words 
are charged with magic. If you spend 48 hours over a 
period of 6 days or fewer studying the book's contents 
and practicing its guidelines, your Constitution score 
increases by 2, as does your maximum for that score. 
The manual then loses its magic, but regains it in 
a century. 

Manual of Gainful Exercise 
Wondrous item , very rare 

This book describes fitness exercises, and its words are 
charged with magic. If you spend 48 hours over a perioi 
of 6 days or fewer studying the book s contents and 
practicing its guidelines, your Strength score increases 
by 2, as does your maximum for that score. The tnanua 
then loses its magic, but regains it in a century. 

Manual of Golems 

Wondrous item, very rare 

This tome contains information and incantations 
necessary to make a particular type of golem. The DM 
chooses the type or determines it randomly. To decipher 
and use the manual, you must be a spellcaster with at 
least two 5th-level spell slots. A creature that can’t use 
a manual of golems and attempts to read it takes 6d6 
psychic damage. 


d20 

Golem 

Time 

Cost 

1-5 

Clay 

30 days 

65,000 gp 

6-17 

Flesh 

60 days 

50,000 gp 

18 

Iron 

120 days 

100,000 gp 

19-20 

Stone 

90 days 

80,000 gp 


CHAPTER 7 I I'REASURE 



















To create a golem, you must spend the time shown on 
the table, working without interruption with the manual 
at hand and resting no more than S hours per day. You 
must also pay the specified cost to purchase supplies. 

Once you finish creating the golem, the book is 
consumed in eldritch flames. The golem becomes 
animate when the ashes of the manual are sprinkled on 
it. It is under your control, and it understands and obeys 
your spoken commands. See the Monster Manual for its 
^ame statistics. 

Manual of Quickness of Action 

Wondrous item, very rare 

This book contains coordination and balance exercises, 
and its words are charged with magic. If you spend 
48 hours over a period of 6 days or fewer studying 
the book s contents and practicing its guidelines, your 
Dexterity score increases by 2, as does your maximum 
tor that score. The manual then loses its magic, but 
regains it in a century. 

Mariner's Armor 

Armor (light* medium, or heavy), uncommon 

While wearing this armor, you have a swimming speed 
equal to your walking speed. In addition, whenever you 
start your turn underwater with 0 hit points, the armor 
causes you to rise 60 feet toward the surface. The armor 
is decorated with fish and shell motifs. 

Medallion of Thoughts 
1 Vondrovs item, uncommon (requires at tune men t) 

The medallion has 3 charges. While wearing it, you can 
use an action and expend 1 charge to cast the detect 
thoughts spell (save DC 13) from it. The medallion 
regains ld3 expended charges daily at dawn. 

Mirror of Life Trapping 

\ Vondrous item, very rare 

When this 4-foot-ta.il mirror is viewed indirectly, its 
surface shows faint images of creatures. The mirror 
weighs 50 pounds, and it has AC 11, 10 hit points, and 
vulnerability to bludgeoning damage. It shatters and is 
destroyed when reduced to 0 hit points. 

If the mirror is hanging on a vertical surface and you 
are within 5 feet of it, you can use an action to speak its 
command word and activate it. It remains activated until 
you use an action to speak the command word again. 
Any creature other than you that sees its reflection 
in the activated mirror while within 30 feet of it must 
succeed on a DC 15 Charisma saving throw or be 
trapped, along with anything it is wearing or carrying, in 
one of the mirror’s twelve extradimensional cells. This 
saving throw is made with advantage if the creature 
knows the mirror s nature, and constructs succeed on 
the saving throw automatically. 

An extradimen si on a 1 cell is an infinite expanse filled 
w ith thick fog that reduces visibility to 10 feet. Creatures 
trapped in the mirror s cells don't age, and they don't 
need to eat, drink, or sleep. A creature trapped w ithin 
a cell can escape using magic that permits planar 
travel. Otherwise, the creature is confined to the cell 
until freed. 




Mirror of 
t fe Trapping 


Flesh Golems 


MANUAL OF 


Manual of 
00DILV bEALTH 


Manual of 
Quickness of Action 


Cjjh 


Medallion 
of Thoughts 


e H A PT E K 7 I T R El A S Lf RE 


r8i 
































Necklace of Fireballs 


Nine Lives Stealer 


If the mirror traps a creature but its twelve 
extradimensional cells are already occupied, the mirror 
frees one trapped creature at random to accommodate 
the new prisoner. A freed creature appears in an 
unoccupied space within sight of the mirror but facing 
away from it. If the mirror is shattered, all creatures 
it contains are freed and appear in unoccupied 
spaces near it. 

While within 5 feet of the mirror, you can use an 
action to speak the name of one creature trapped in it or 
call out a particular cell by number. The creature named 
or contained in the named cell appears as an image 
on the mirrors surface. You and the creature can then 
communicate normally. 

In a similar way, you can use an action to speak a 
second command word and free one creature trapped 
in the mirror. The freed creature appears, along with 
its possessions, in the unoccupied space nearest to the 
mirror and facing away from it. 

Mithral Armor 

Armor (medium or heavy, but not hide), uncommon 

Mithral is a light, flexible metal. A mithral chain shirt 
or breastplate can be worn under normal clothes. If the 
armor normally imposes disadvantage on Dexterity 
(Stealth) checks or has a Strength requirement, the 
mithral version of the armor doesn’t. 

Necklace of Adaptation 

Wondrous item, uncommon (requires attunement) 

While wearing this necklace, you can breathe normally 
in any environment, and you have advantage on saving 
throws made against harmful gases and vapors (such 
as cloudkill and stinking cloud effects, inhaled poisons, 
and the breath weapons of some dragons). 

CHAPTER 7 | TREASURE 


Necklace of 
Prayer Beaos 


Necklace of Fireballs 

"V 

Wondrous item, rare 

This necklace has ld6 + 3 beads hanging from it. You 
can use an action to detach a bead and throw it up to 60 
feet away. When it reaches the end of its trajectory, the 
bead detonates as a 3rd-level fireball spell (save DC 15). 

You can hurl multiple beads, or even the whole 
necklace, as one action. When you do so. increase the 
level of the fireball by 1 for each bead beyond the first. 

A 

Necklace of Prayer Beads 

Wondrous item, rare (requires attunement by a cleric, 
druid, or paladin) 

This necklace has ld4 + 2 magic beads made from 
aquamarine, black pearl, or topaz. It also has many 
non magical beads made from stones such as amber, 
bloodstone, citrine, coral, jade, pearl, or quartz. If a 
magic bead is removed from the necklace, that bead 
loses its magic. 

Six types of magic beads exist. The DM decides the 
type of each bead on the necklace or determines it 
randomly. A necklace can have more than one bead of 
the same type. To use one, you must be wearing the 
necklace. Each bead contains a spell that you can cast 
from it as a bonus action (using your spell save DC if a 
save is necessary). Once a magic bead’s spell is cast, 
that bead can’t be used again until the next dawn. 


d20 

Bead of... 

Spell 

1-6 

Blessing 

Bless 

7-12 

Curing 

Cure wounds (2nd level) or lesser 
restoration 

13-16 

Favor 

Greater restoration 

17-18 

Smiting 

Branding smite 

19 

Summons 

Planar ally 

20 

Wind walking 

Wind walk 




















Necklace of 
Adaptation 


Nine Lives Stealer 

Weapon (any sword), very rare (requires attunement) 

You gain a +2 bonus to attack and damage rolls made 
with this magic weapon. 

The sword has ld8 + 1 charges. If you score a crit ical 
hit against a creature that has fewer than 100 hit points, 
it must succeed on a DC 15 Constitution saving throw or 
he slain instantly as the sword tears its life force from its 
body (a construct or an undead is immune). The sword 
loses t charge if the creature is slain. When the sword 
has no charges remaining, it loses this property, 

Nolzur's Marvelous Pigments 

Wondrous item , very rare 

Typically found in ld4 pots inside a fine wooden box 
with a brush (weighing 1 pound in total), these pigments 
allow you to create three-dimensional objects by 
painting them in two dimensions. The paint flows from 
the brush to form the desired object as you concentrate 
on its image. 

Each pot of paint is sufficient to cover 1,000 square 
feet of a surface, which lets you create inanimate objects 
or terrain features—such as a door, a pit, flowers, frees, 
cells, rooms, or weapons—that are up to 10,000 cubic 
feet. It takes 10 minutes to cover 100 square feet. 

When you complete the painting, the object or terrain 
feature depicted becomes a real, non magical object. 
Thus, painting a door on a wall creates an actual door 
that can be opened to whatever is beyond. Painting a pit 
on a floor creates a real pit, and its depth counts against 
the total area of objects you create, 

Nothing created by the pigments can hav e a value 
greater than 25 gp. If you paint an object of greater value 


(such as a diamond or a pile of gold), the object looks 
authentic, but close inspection reveals it is made from 
paste, bone, or some other worthless material. 

If you paint a form of energy such as Are or lightning, 
the energy appears but dissipates as soon as you 
complete the painting, doing no harm to anything. 

Oathbow 

Weapon (longbow), very rare (requires a t tune men l) 

When you nock an arrow on this bow, it whispers in 
Elvish, “Swift defeat to my enemies." When you use 
this weapon to make a ranged attack, you can. as a 
command phrase, say, “Swift death to you who have 
wronged me." The target of your attack becomes your 
sworn enemy until it dies or until dawn seven days later 
You can have only one such sworn enemy at a time. 
When your sworn enemy dies, you can choose a new 
one after the next dawn. 

When you make a ranged attack roll with this weapon 
against your sworn enemy, you have advantage on the 
roll. In addition, your target gains no benefit from cover, 
other than total cover, and you suffer no disadvantage 
due to long range. If the attack hits, your sworn enemy 
takes an extra 3d6 piercing damage. 

While your sworn enemy lives, you have disadvantage 
on attack rolls with all other weapons. 

Oil of Etherealness 

Potion, rare 

Beads of this cloudy gray oil form on the outside of its 
container and quickly evaporate. The oil can cover a 
Medium or smaller creature, along with the equipment 
it's wearing and carrying (one additional vial is required 


C HA PTER 7 | TRE A5URE 


Oathbow 












for each size category above Medium). Applying the oil 
takes 10 minutes. The affected creature then gains the 
effect of the etherealness spell for 1 hour 

Oil of Sharpness 

Potion , very rare 

This clean gelatinous oil sparkles with tiny, ultrathin 
silver shards. The oil can coat one slashing or piercing 
weapon or up to 5 pieces of slashing or piercing 
ammunition. Applying the oil takes 1 minute. For 1 
hour, the coated item is magical and has a *3 bonus to 
attack and damage rolls. 

Oil of Slipperiness 

Potion, uncommon 

This sticky black unguent is thick and heavy in the 
container, but it flows quickly when poured. The oil can 
cover a Medium or smaller creature, along with the 
equipment it's wearing and carrying (one additional 
vial is required for each size category above Medium), 
Applying the oil takes 10 minutes. The affected creature 
then gains the effect of a freedom of movement spell 
for 8 hours. 

Alternatively, the oil can be poured on the ground as 
an action, where it covers a 10-foot square, duplicating 
the effect of the grease spell in that area for 8 hours. 

Pearl of Power 

Wondrous item . uncommon (requires attunement by a 
spellcastcr) 

You can use an action to speak this pearl's command 


word and regain one expended spell slot of up to 3rd 

level. Once you have used the pearl, it can’t be used 
again until the next dawn. 


C H A PT E R 7 | TR E A 5 U R E 


Periapt of Health 


Periapt of Health 

Wondrous item , uncommon 

You are immune to contracting any disease while you 
wear this pendant, if you are already infected with a 
disease, the effects of the disease are suppressed you 
while you wear the pendant. 

Periapt of Proof against Poison 
Wondrous item, rare 

This delicate silver chain has a brilliant-cut black gem 
pendant. While you wear it, poisons have no effect on 
you. You arc immune to the poisoned condition and ha\e 
immunity to poison damage. 

Periapt of Wound Closure 

Wondrous item, uncommon (requires attunement) 

While you wear this pendant, you stabilize whenever 
you are dying at the start of your turn. In addition, 
whenever you roll a Hit Die to regain hit points, double 
the number of hit points it restores. 

Philter of Love 
Potion, uncommon 

The next time you see a creature within 10 minutes 
after drinking this philter, you become charmed by 
that creature for 1 hour If the creature is of a species 
and gender you are normally attracted to. you regard it 
as your true love while you are charmed. This potion s 
rose-hued, effervescent liquid contains one easy-to-miss 
bubble shaped like a heart. 


Periapt of 
Wound Closure 


















Pipes of Haunting 


Pipes of Haunting 

Wondrous item * uncommon 

You must be proficient with wind instruments to use 
these pipes. They have 3 charges. You can use an action 
to play them and expend 1 charge to create an eerie, 
spellbinding tune. Each creature within 30 feet of you 
that hears you play must succeed on a DC 15 Wisdom 
saving throw or become frightened of you for 1 minute. 

If you wish, all creatures in the area that aren't hostile 
toward you automatically succeed on the saving throw. 

A creature that fails the saving throw can repeat it at the 
end of each of its turns, ending the effect on itself on a 
success, A creature that succeeds on its saving throw 
is immune to the effect of these pipes for 24 hours. The 
pipes regain 1 c!3 expended charges daily at daw n. 

Pipes of the Sewers 

Wondrous item, uncommon (requires attunement) 

You must be proficient with wind instruments to use 
these pipes. While you are attuned to the pipes, ordinary 
rats and giant rats are indifferent toward you and will 
not attack you unless you threaten or harm them. 

The pipes have 3 charges. If you play the pipes as 
an action, you can use a bonus action to expend 1 to 
3 charges, calling forth one swarm of rats (see the 
Monster Manual for statistics) with each expended 
charge, provided that enough rats are within half a mile 
of you to be called in this fashion (as determined by 
the DM), If there aren't enough rats to form a swarm, 
the charge is wasted. Called swarms move toward the 
music by the shortest available route but aren't under 
your control otherwise. The pipes regain ld3 expended 
charges daily at dawn. 


Whenever a swarm of rats that isn't under another 
creature's control comes within 30 feet of you while you 
are playing the pipes, you can make a Charisma check 
contested by the swarm's Wisdom check. If you lose 
the contest, the swarm behaves as it normally would 
and can't be swayed by the pipes' music for the next 
24 hours. If you win the contest, the swarm is swayed 
by the pipes’ music and becomes friendly to you and 
your companions for as long as you continue to play the 
pipes each round as an action, A friendly swarm obeys 
your commands. If you issue no commands to a friendly 
swarm, it defends itself but otherwise takes no actions. 

If a friendly swarm starts its turn and can't hear the 
pipes' music, your control over that swarm ends, and 
the swarm behaves as it normally would and can't be 
swayed by the pipes' music for the next 24 hours. 

Plate Armor of Etherealn ess 

.4 rm or (pla te), legen da ry (req u ires a 11 unem ent) 

While you're wearing this armor, you can speak its 
command word as an action to gain the effect of the 
etherealness spell, which last for 10 minutes or until 
you remove the armor or use an action to speak the 
command word again. This property of the armor can’t 
be used again until the next dawn. 

Portable Hole 
Wondrous item , rare 

This fine black cloth, soft as silk, is folded up to the 
dimensions of a handkerchief. It unfolds into a circular 
sheet 6 feet in diameter. 

You can use an action to unfold a portable hole and 
place it on or against a solid surface, whereupon the 
portable hole creates an extradimensional hole 10 
feet deep. The cylindrical space within the hole exists 

CHAPTER 7 I TREASURE 

tfi 






















on a different plane, so it can't be > J create open 
passages. Any creature inside an open portable hole can 
exit the hole by climbing out of it. 

You can use an action to close a portable hole by 
taking hold of the edges of the cloth and folding it up. 
Folding the cloth closes the hole, and any creatures or 
objects within remain in the extradimensional space. No 
matter what’s in it. the bole weighs next to nothing. 

If the hole is folded up, a creature within the hole's 
extradimensional space can use an action to make 
a DC 10 Strength check. On a successful check, the 
creature forces its way out and appears within 5 feet of 
the portable hole or the creature carrying it. A breathing 
creature within a closed portable hole can survive for up 
to 10 minutes, after which time it begins to suffocate. 
Placing a portable hole inside an extradimensional 
space created by a bag of holding, Heward's handy 
haversack, or simi lar item instantly destroys both items 
and opens a gate to ihe Astral Plane. The gate originates 
where the one item was placed inside the other. Any 
creature within 10 feet of the gate is sucked through it 
and deposited in a random location on the Astral Plane, 
The gate then closes. The gate is one-way only and can't 
be reopened. 

Potton of Animal Friendship 
Potion, uncommon 

When you drink this potion, you can cast the animal 
friendship spell (save DC 13) for 1 hour at will. Agitating 
t his muddy liquid brings little bits into view: a fish scale, 
a hummingbird tongue, a cat claw, or a squirrel hair. 

Potion of Clairvoyance 
Potion, rare 

When you drink this potion, you gain the effect of the 
ialrvoyance spell. An eyeball bobs in this yellowish 
liquid but vanishes when the potion is opened. 

Potion of Climbing 

Potion t common 

When you drink this potion, you gain a climbing speed 
equal to your walking speed for I hour. During this 
time, you have advantage on Strength (Athletics) checks 
you make to climb. The potion is separated into brown, 
silver, and gray layers resembling bands of stone. 
Shaking the bottle fails to mix the colors. 

Potion of Diminution 
Potion f rare 

When you drink this potion, you gain the “reduce" 
effect of the enlarge/reduce spell for ld4 hours (no 
concentration required). The red in the potion’s liquid 
continuously contracts to a tiny bead and then expands 
to color the clear liquid around it. Shaking the bottle 
■ails to interrupt this process. 

Potion of Fire Breath 

Potion, uncommon 

After drinking this potion, you can use a bonus action to 
exhale fire at a target within 30 feet of you. The target 


must make a DC 13 Dexterity saving throw, taking 4d6 
fire damage on a failed save, or half as much damage on 
a successful one. The effect ends after you exhale the 
fire three times or when I hour has passed. 

This potion s orange liquid flickers, and smoke fills the 
top of the container and wafts out whenever it is opened. 

Potion of Flying 

Potion , very rare 

When you drink this potion, you gain a flying speed 
equal to your walking speed for I hour and can hover. 

If you’re in the air when the potion wears off. you fall 
unless you have some other means of staying aloft. This 
potion’s clear liquid floats at the top of its container and 
has cloudy white impurities drifting in it. 

Potion of Gaseous Form 

Potion, rare 

When you drink this potion, you gain the effect of 
the gaseous form spell for 1 hour (no concentration 
required) or until you end the effect as a bonus action. 
This potion s container seems to hold fog that moves 
and pours like water. 

Potion of Giant Strength 
Potion, rarity varies 

When you drink this potion, your Strength score 
changes for 1 hour. The type of giant determines the 
score (see the table below). The potion has no effect 
on you if your Strength is equal to or greater than 
that score. 

This potion's transparent liquid has floating in it a 
sliver of fingernail from a giant of the appropriate type. 
The potion of frost giant strength and the potion of stone 
giant strength have the same effect. 


Type of Giant 

Strength 

Rarity 

Hill giant 

21 

Uncommon 

Frost/stone giant 

23 

Rare 

Fire giant 

25 

Rare 

Cloud giant 

27 

Very rare 

Storm giant 

29 

Legendary 


Potion of Growth 

Potion, uncommon 

When you drink this potion, you gain the “enlarge” 
effect of the enlarge/reduce spell for Id4 hours (no 
concentration required). The red in the potion’s liquid 
continuously expands from a tiny bead to color the clear 
liquid around it and then contracts. Shaking the bottle 
fails to interrupt this process. 

Potion of Healing 

Potion , rarity varies 

You regain hit points when you drink this potion. The 
number of hit points depends on the potion's rarity, as 
shown in the Potions of Healing table. Whatever its 
potency, the potion's red liquid glimmers when agitated. 


CHAPTER 7 I TREASURE 




Potions of Healing 


Potion of... 
Healing 

Greater healing 
Superior healing 
Supreme healing 


Rarity 

Common 

Uncommon 

Rare 

Very rare 


HP Regained 
2d4 + 2 
4d4 + 4 
8d4 + 8 
10d4 + 20 


Potion of Heroism 

Potion , rare 

For 1 hour after drinking it, you gain 10 temporary hit 
points that last for 1 hour. For the same duration, you 
are under the effect of the bless spell (no concentration 
required). This blue potion bubbles and steams as 
if boiling. 

Potion of Invisibility 

Potion, very rare 

This potions container looks empty but feels as though 
it holds liquid. When you drink it, you become invisible 
for 1 hour. Anything you wear or carry is invisible with 
you. The effect ends early if you attack or cast a spell. 

Potion of Invulnerability 

Potion, rare 

For 1 minute after you drink this potion, you have 
resistance to all damage. The potions syrupy liquid 
looks like liquified iron. 

Potion of Longevity 

Potion, very rare 

When you drink this potion, your physical age is 
reduced by ld6 + 6 years, to a minimum of 13 years. 
Each time you subsequently drink a potion of longevity, 
there is 10 percent cumulative chance that you instead 
age by ld6 + 6 years. Suspended in this amber liquid 
are a scorpion’s tail, an adder s fang, a dead spider, 
and a tiny heart that, against all reason, is still beating. 
These ingredients vanish when the potion is opened. 

Potion of Mind Reading 

Potion , rare 

When you drink this potion, you gain the effect of the 
detect thoughts spell (save DC 13). The potions dense, 
purple liquid has an ovoid cloud of pink floating in it. 

Potion of Poison 

Potion, uncommon 

This concoction looks, smells, and tastes like a potion of 
healing or other beneficial potion. However, it is actually 
poison masked by illusion magic. An identify spell 
reveals its true nature. 

If you drink it, you take 3d6 poison damage, and you 
must succeed on a DC 13 Constitution saving throw or 
be poisoned. At the start of each of your turns while you 
are poisoned in this way, you take 3d6 poison damage. 

At the end of each of your turns, you can repeat the 
saving throw. On a successful save, the poison damage 
you take on your subsequent turns decreases by ld6. 

The poison ends when the damage decreases to 0. 


Potion of Resistance 

Potion, uncommon 

When you drink this potion, you gain resistance to one 
type of damage for 1 hour. The DM chooses the type or| 
determines it randomly from the options below. 


dlO Damage Type 

1 Acid 

2 Cold 

3 Fire 

4 Force 

5 Lightning 


dlO Damage Type 

6 Necrotic 

7 Poison 

8 Psychic 

9 Radiant 

10 Thunder 


Potion of Speed 

Potion, very rare 

When you drink this potion, you gain the effect of the 
haste spell for 1 minute (no concentration required), 
potions yellow fluid is streaked with black and swirls 
on its own. 

Potion of Vitality 

Potion, very rare 

When you drink this potion, it removes any exhaustior. 
you are suffering and cures any disease or poison 
affecting you. For the next 24 hours, you regain the 
maximum number of hit points for any Hit Die you 
spend. The potion’s crimson liquid regularly pulses wit 
dull light, calling to mind a heartbeat. 

Potion of Water Breathing 

Potion, uncommon 

You can breathe underwater for 1 hour after drinking 
this potion. Its cloudy green fluid smells of the sea and 
has a jellyfish-like bubble floating in it. 

Quaal’s Feather Token 

Wondrous item, rare 

This tiny object looks like a feather. Different types of 
feather tokens exist, each with a different single-use 
effect. The DM chooses the kind of token or determines 
it randomly. 


dlOO 

Feather Token 

dlOO 

Feather Token 

01-20 

Anchor 

51-65 

Swan boat 

21-35 

Bird 

66-90 

Tree 

36-50 

Fan 

91-00 

Whip 


Anchor . You can use an action to touch the token to a 
boat or ship. For the next 24 hours, the vessel can’t be 
moved by any means. Touching the token to the vessel 
again ends the effect. When the effect ends, the token 
disappears. 

Bird, You can use an action to toss the token 5 feet 
into the air. The token disappears and an enormous, 
multicolored bird takes its place. The bird has the 
statistics of a roc (see the Monster Manual), but it obeys 
your simple commands and can’t attack. It can carry 
up to 500 pounds while flying at its maximum speed 
(16 miles an hour for a maximum of 144 miles per day. 
with a one-hour rest for every 3 hours of flying), or 1,000 


CHAPTER 7 I TREASURE 




pounds at half that speed. The bird disappears after 
dying its maximum distance for a day or if it drops to 0 
hit points. You can dismiss the bird as an action* 

Fan . If you are on a boat or ship* you can use an action 
to toss the token up to 10 feet in the air, The token 
disappears, and a giant flapping fan takes its place. The 
fan floats and creates a wind strong enough to fill the 
sails of one ship, increasing its speed by 5 miles per 
hour for S hours. You can dismiss the fan as an action. 

Swan Boat, You can use an action to touch the token 
to a body of water at least 60 feet in diameter* The token 
disappears, and a 50-foot-long, 20-foot-wide boat shaped 
like a swan takes its place. The boat is self-propelled 
and moves across water at a speed of 6 miles per hour. 
You can use an action while on the boat to command it 
to move or to turn up to 90 degrees. The boat can carry 
up to thirty-two Medium or smaller creatures. A Large 
creature counts as four Medium creatures, while a 
Huge creature counts as nine. The boat remains for 24 
hours and then disappears. You can dismiss the boat as 
an action* 

Tree . You must be outdoors to use this token. You 
an use an action to touch it to an unoccupied space 
on the ground. The token disappears* and in its place 
a non magical oak tree springs into existence* The tree 
is 60 feet tall and has a 5-foot-diameter trunk, and its 
branches at the top spread out in a 20-foot radius. 

Whip, You can use an action to throw the token to a 
point within 10 feet of you. The token disappears, and a 
floating whip takes its place. You can then use a bonus 
action to make a melee spell attack against a creature 
within 10 feet of the whip, w ith an attack bonus of +9* 

On a hit, the target takes Ld6 + 5 force damage* 

As a bonus action on your turn, you can direct the 
whip to fly up to 20 feet and repeat the attack against a 
creature within 10 feet of it* The whip disappears after 1 
hour, when you use an action to dismiss it, or when you 
are incapacitated or die* 


C>UJVEJR OF EHLONNA 
\ l ondrous item , uncommon 


Each of the quiver's three compartments connects to 
an extradimensional space that allows the quiver to 
hold numerous items while never weighing more than 
2 pounds. The shortest compartment can hold up to 
sixty arrows, bolts, or similar objects* The midsize 
compartment holds up to eighteen javelins or similar 
objects* The longest compartment holds up to six long 
objects, such as bows, quarter staffs, or spears. 

You can draw any item the quiver contains as if doing 
so from a regular quiver or scabbard. 


Ring of Animal Influence 
Ring, rare 

This ring has 3 charges, and it regains ld3 expended 
charges daily at dawn. While wearing the ring, you can 
use an action to expend 1 of its charges to cast one of 
the following spells: 


- Animal friendship (save DC 13) 

* Fear (save DC 13), targeting only beasts that have an 
Intelligence of 3 or lower 

* SpeaA with animals 


Fan Token 

Jm 


Anchor Token 


CHAPTER 7 ! TREASURE 


Quaal's 

Featkcb Tokens 


S’wan Boat Token 











Ring of Djinni Summoning 

Ring, legendary (requires attunement) 

While wearing this ring, you can speak its command 
word as an action to summon a particular djinni from 
the Elemental Plane of Air. The djinni appears in an 
unoccupied space you choose within 120 feet of you. ft 
remains as long as you concentrate (as if concentrating 
on a spell), to a maximum of 1 hour, or until it drops to 0 
hit points. It then returns to its home plane. 

While summoned, the djinni is friendly to you and 
your companions. It obeys any commands you give it, no 
matter what language you use. If you fail to command it, 
the djinni defends itself against attackers but takes no 
other actions. 

After the djinni departs, it can’t be summoned again 
for 24 hours, and the ring becomes non magical if the 
djinni dies. 

Ring of Elemental Command 

Ring, legendary (requires attunement) 

This ring is linked to one of the four Elemental 
Planes. The DM chooses or randomly determines the 
linked plane. 

While wearing this ring, you have advantage on attack 
rolls against elementals from the linked plane, and 
they have disadvantage on attack rolls against you. In 
addition, you have access to properties based on the 
linked plane. 

The ring has 5 charges. It regains ld4 + 1 expended 
charges daily at dawn. Spells cast from the ring have a 
save DC of 17. 

Ring of Air Elemental Command. You can expend 2 
of the ring's charges to cast dominate monster on an air 
elemental. In addition, when you fall, you descend 60 
feet per round and take no damage from falling. You can 
also speak and understand Auran. 

If you help slay an air elemental while attuned to 
the ring, you gain access to the following additional 
properties: 


CHAPTER 7 ! TREASURE 


Ring of A - 
Elemental C : ; 


* You have resistance to lightning damage. 

* You have a flying speed equal to your walking spee _ 
and can hover. 

* You can cast the following spells from the ring, 
expending the necessary number of charges: chair 
lightning (3 charges), gust of wind (2 charges), or wn 
wall{ 1 charge). 

Ring of Barth Elemental Command, You can exp- 
2 of the ring's charges to cast dominate monster on 
earth elemental. In addition, you can move in difficuf 
terrain that is composed of rubble, rocks, or dirt as 
if it were normal terrain. You can also speak and 
understand Terran* 

If you help slay an earth elemental wdiile attuned tc 
the ring, you gain access to the following additional 
properties: 

* You have resistance to acid damage. 

* You can move through solid earth or rock as if those 
areas were difficult terrain. If you end your turn the _ 
you are shunted out to the nearest unoccupied spa*: 
you last occupied. 

* You can cast the following spells from the ring, 
expending the necessary number of charges: stone 
shape (2 charges), stoneskirt (3 charges), or wall of 
stone (3 charges). 

Ring of Fire Elemental Command. You can expen: 
2 of the ring s charges to cast dominate monster on a 
fire elemental. In addition, you have resistance to fire 
damage. You can also speak and understand Ignan. 

If you help slay a fire elemental while attuned to 
the ring, you gain access to the following additional 
properties: 

* You are immune to fire damage. 

* You can cast the following spells from the ring, 
expending the necessary number of charges: burning 
hands (1 charge), fireball (2 charges), and wall of fir: 
(3 charges). 


S2ing of 
Free Action 


Rjng of Animal Influence 


Ring of 

Djinni Summoning 





















Ring of Water Elemental Command . You can expend 
2 of the ring's charges to cast dominate monster on a 
water elemental. In addition, you can stand on and walk 
across liquid surfaces as if they were solid ground. You 
can also speak and understand Aquan. 

If you help slay a water elemental while attuned to 
the ring, you gain access to the following additional 
properties: 

* You can breathe underwater and have a swimming 
speed equal to your walking speed, 

* You can east the following spells from the ring, 
expending the necessary number of charges: create or 
destroy water (1 charge), control water (3 charges), ice 
storm (2 charges), or wall of ice (3 charges). 

Ring of Evasion 

Ring, rare (requires attunement) 

This ring has 3 charges, and it regains ld3 expended 
charges daily at dawn. When you fail a Dexterity saving 
throw while wearing it, you can use your reaction 
to expend 1 of its charges to succeed on that saving 
throw r instead. 

Ring of Feather Falling 

Ring, rare (requires attunement) 

When you fall while wearing this ring, you descend 60 
feet per round and take no damage from falling. 

Ring of Free Action 

Ring, rare (requires attunement) 

While you wear this ring, difficult terrain doesn’t cost 
you extra movement. In addition, magic can neither 
reduce your speed nor cause you to be paralyzed or 
restrained. 

Ring of Invisibility 

Ring, legendary (requires attunement) 

While wearing this ring, you can turn invisible as an 
action. Anything you are wearing or carrying is invisible 


with you. You remain invisible until the ring is removed, 
until you attack or cast a spell, or until you use a bonus 
action to become visible again. 

Ring of Jumping 

Ring, uncommon (requires attunement) 

While wearing this ring, you can cast the jump spell 
from it as a bonus action at will, but can target only 
yourself when you do so. 

Ring of Mind Shielding 
Ring, uncommon (requires attunement) 

While wearing this ring, you are immune to magic 
that allows other creatures to read your thoughts, 
determine whether you are lying, know your alignment, 
or know your creature type. Creatures can telepathically 
communicate with you only if you allow it. 

You can use an action to cause the ring to become 
invisible until you use another action to make it visible, 
until you remove the ring, or until you die. 

If you die while wearing the ring, your soul enters it, 
unless it already houses a soul. You can remain in the 
ring or depart for the afterlife. As long as your soul is 
in the ring, you can telepathically communicate with 
any creature wearing it. A wearer can’t prevent this 
telepathic communication. 

Ring of Protection 

Ring, rare (requires attunement) 

You gain a +1 bonus to AC and saving throw's while 
wearing this ring. 

Ring of Regeneration 

Ring, very rare (requires attunement) 

While wearing this ring, you regain ld6 hit points every 
10 minutes, provided that you have at least 1 hit point I f 
you lose a body part, the ring causes the missing part to 
regrow and return to full functionality after ld6 + 1 days 
if you have at least 1 hit point the whole time. 


CHAPTER 7 I TREASURE 


19 3 












Ring of Protection 


Ring of 

Fire Resistance 


Ring of 
Regeneration 


Ring of Resistance 

Ring, rare (requires attunement) 

You have resistance to one damage type while wearing 
this ring. The gem in the ring indicates the type, which 
the DM chooses or determines randomly. 


dlO 

Damage Type 

Gem 

1 

Acid 

Pearl 

2 

Cold 

Tourmaline 

3 

Fire 

Garnet 

4 

Force 

Sapphire 

5 

Lightning 

Citrine 

6 

Necrotic 

Jet 

7 

Poison 

Amethyst 

8 

Psychic 

Jade 

9 

Radiant 

Topaz 

10 

Thunder 

Spinel 


Ring of Shooting Stars 

Ring, very rare (requires attunement outdoors at night) 

While wearing this ring in dim light or darkness, you 
can cast dancing lights and light from the ring at will. 
Casting either spell from the ring requires an action. 

The ring has 6 charges for the following other 
properties. The ring regains ld6 expended charges 
daily at dawn. 

Faerie Fire. You can expend 1 charge as an action to 
cast faerie fire from the ring. 

Ball Lightning. You can expend 2 charges as an 
action to create one to four 3-foot-diameter spheres 
of lightning. The more spheres you create, the less 
powerful each sphere is individually. 

Each sphere appears in an unoccupied space you can 
see within 120 feet of you. The spheres last as long as 
you concentrate (as if concentrating on a spell), up to 1 
minute. Each sphere sheds dim light in a 30-foot radius. 

As a bonus action, you can move each sphere up to 
30 feet, but no farther than 120 feet away from you. 
When a creature other than you comes within 5 feet of a 


Ring of 
Spell Storing 


Ring of 


Telekinesis 


sphere, the sphere discharges lightning at that creature 
and disappears. That creature must make a DC 15 
Dexterity saving throw. On a failed save, the creature 
takes lightning damage based on the number of spheres 
you created. 


Spheres 

4 

3 

2 

1 


Lightning Damage 
2d4 
2d6 
5d4 
4dl2 


Shooting Stars. You can expend 1 to 3 charges as 
an action. For every charge you expend, you launch 
a glowing mote of light from the ring at a point you 
can see within 60 feet of you. Each creature within a 
15-foot cube originating from that point is showered in 
sparks and must make a DC 15 Dexterity saving throw, 
taking 5d4 fire damage on a failed save, or half as much 
damage on a successful one. 

Ring of Spell Storing 

Ring, rare (requires attunement) 

This ring stores spells cast into it, holding them until the 
attuned wearer uses them. The ring can store up to 5 
levels worth of spells at a time. When found, it contains 
ld6 - 1 levels of stored spells chosen by the DM. 

Any creature can cast a spell of 1st through 5th level 
into the ring by touching the ring as the spell is cast. 

The spell has no effect, other than to be stored in the 
ring. If the ring can't hold the spell, the spell is expendec 
without effect. The level of the slot used to cast the spel’ 
determines how much space it uses. 

While wearing this ring, you can cast any spell stored 
in it. The spell uses the slot level, spell save DC, spell 
attack bonus, and spellcasting ability of the original 
caster, but is otherwise treated as if you cast the spell. 
The spell cast from the ring is no longer stored in it, 
freeing up space. 



CHAPTER 7 I TREASURE 














E N G OF 
E£ Wishes 


RlNG OF 


Ring of 


Spell Turning 


Shooting Stars 


Water Walking 


Ring of Spell Turning 

Ring, legendary (requires attunement) 

While wearing this ring, you have advantage on saving 
throws against any spell that targets only you (not in 
an area of effect). In addition, if you roll a 20 for the 
save and the spell is 7th level or lower, the spell has no 
effect on you and instead targets the caster, using the 
slot level, spell save DC, attack bonus, and spellcasting 
ability of the caster. 

Ring of Swimming 

Ring, uncommon 

You have a swimming speed of 40 feet while wearing 
this ring. 

Ring of Telekinesis 

Ring, very rare (requires attunement) 

While wearing this ring, you can cast the telekinesis 
spell at will, but you can target only objects that aren't 
being worn or carried. 

Ring of the Ram 

Ring, rare (requires attunement) 

This ring has 3 charges, and it regains Id3 expended 
charges daily at dawn. While wearing the ring, you can 
use an action to expend 1 to 3 of its charges to attack 
one creature you can see within 60 feet of you. The ring 
produces a spectral ram s head and makes its attack roll 
with a +7 bonus. On a hit, for each charge you spend, 
ihe target takes 2d 10 force damage and is pushed 5 feet 
away from you. 

Alternatively, you can expend 1 to 3 of the ring's 
harges as an action to try to break an object you can 
see within 60 feet of you that isn't being worn or carried. 
The ring makes a Strength check with a +5 bonus for 
each charge you spend. 

Ring of Three Wishes 

Ring, legendary 

While wearing this ring, you ean use an action to 
expend 1 of its 3 charges to cast the wish spell from 


it. The ring becomes non magic al when you use the 
last charge. 

Ring of Warmth 

Ring, uncommon (requires attunement) 

While wearing this ring, you have resistance to cold 
damage. In addition, you and everything you wear and 
carry are unharmed by temperatures as low as -50 
degrees Fahrenheit, 

Ring of Water Walking 

Ring, uncommon 

While wearing this ring, you can stand on and move 
across any liquid surface as if it were solid ground. 

Ring of X-ray Vision 

Ring, rare (requires attunement) 

While wearing this ring, you can use an action to speak 
its command word. W hen you do so. you can see into 
and through solid matter for 1 minute. This vision has a 
radius of 30 feet. To you. solid objects within that radius 
appear transparent and don’t prevent light from passing 
through them. The vision can penetrate 1 foot of stone, 

1 inch of common metal, or up to 3 feet of wood or dirt. 
Thicker substances block the vision, as does a thin 
sheet of lead. 

Whenever you use the ring again before taking a long 
rest, you must succeed on a DC 15 Constitution saving 
throw or gain one level of exhaustion. 

Robe of Eyes 

Wondrous item , rare (requires attunement) 

This robe is adorned with eyelike patterns. W hile you 
wear the robe, you gain the following benefits: 

- The robe lets you see in all directions, and you have 
advantage on Wisdom (Perception) checks that 
rely on sight. 

* You have darkvision out to a range of 120 feet, 

- You can see invisible creatures and objects, as well as 
see into the Ethereal Plane, out to a range of 120 feet. 


CHAPTER 7 | TREASURE 










Robe of Eyes 


Rose of Stars 


194 


CHAPTER 7 i TREASURE 


The eyes on the robe can t be closed or averted. 
Although you can close or avert your own eyes, you are 
never considered to be doing so while wearing this rob- 
A light spelt cast on the robe or a daylight spell cast 
within 5 feet of the robe causes you to be blinded for 1 
minute. At the end of each of your turns, you can make - 
Constitution saving throw (DC 11 for light or DC 15 for 
daylight), ending the blindness on a success. 

Robe of Scintillating Colors 

Wondrous item, very rare (requires attunement) 

This robe has 3 charges, and it regains ld3 expended 
charges daily at dawn. While you wear it, you can use 
an action and expend 1 charge to cause the garment 
to display a shifting pattern of dazzling hues until 
the end of your next turn. During this time, the robe 
sheds bright light in a 30-foot radius and dim light for 
an additional 30 feet. Creatures that can see you have 
disadvantage on attack rolls against you. In addition, 
any creature in the bright light that can see you when 
the robe s power is activated must succeed on a DC 
15 Wisdom saving throw or become stunned until the 
effect ends. 

Robe of Stars I 

Wondrous item, very rare (requires attunement) 

This black or dark blue robe is embroidered with smab 
white or silver stars. You gain a +1 bonus to saving 
throws while you wear it. 

Six stars, located on the robe s upper front portion, 
are particularly large. While wearing this robe, you can 
use an action to pull off one of the stars and use it to 
cast magic missile as a Sthdevel spell. Daily at dusk, 1.. 
removed stars reappear on the robe. 

While you wear the robe, you can use an action to 
enter the Astral Plane along with everything you are 
wearing and carrying. You remain there until you 
use an action to return to the plane you were on. You 
reappear in the last space you occupied, or if that spar 7 
is occupied, the nearest unoccupied space. 

Robe of the Arch magi 1 

Wondrous item f legendary (requires attunement by a 
sorcerer, warlock, or wizard) 

This elegant garment is made from exquisite cloth of 
white, gray, or black and adorned with silvery runes. 

The robe's color corresponds to the alignment for whic h 
the item was created. A white robe was made for good 
gray for neutral, and black for evil. You cant attune to 
a robe of the arch magi that doesn’t correspond to your 
alignment. 

You gain these benefits while wearing the robe: 

* If you aren’t wearing armor, your base Armor Class is 
15 Tyour Dexterity modifier, 

■ You have advantage on saving throws against spells 
and other magical effects. 

■ Your spell save DC and spell attack bonus each 
increase by 2. 













Robe or Useful Items 

libndrous item , uncommon 

This robe has cloth patches oi various shapes and colors 
covering it. While wearing the robe. >ou can use an 
action to detach one of the patches, causing it to become 
the object or creature it represents. Once the last patch 
is removed, the robe becomes an ordinary garment. 

The robe has two of each of the following patches: 

* Dagger 

* Builseye lantern (filled and lit) 

■ Steel mirror 

* 10-foot pole 

■ Hempen rope (50 feet, coiled) 

* Sack 

In addition, the robe has 4d4 other patches. The DM 
chooses the patches or determines them randomly. 

dlOO Patch 

01-08 Bag of TOO gp 

09-15 Silver coffer (1 foot long, 6 inches wide and deep) 
worth 500 gp 

16-22 Iron door (up to 10 feet wide and 10 feet high, 

barred on one side of your choice), which you can 
place in an opening you can reach; it conforms to 
fit the opening, attaching and hinging itself 
23-30 10 gems worth 100 gp each 

31-44 Wooden ladder (24 feet long) 

45-51 A riding horse with saddle bags (see the A/fonster 
Manual for statistics) 

52-59 Pit (a cube 10 feet on a side), which you can place 
on the ground within 10 feet of you 
60-68 4 potions of healing 

69-75 Rowboat (12 feet long) 

76-83 Spell scroll containing one spell of 1st to 3rd level 
84-90 2 mastiffs (see the Monster Manual for statistics) 

91-96 Window (2 feet by 4 feet, up to 2 feet deep), which 
you can place on a vertical surface you can reach 
97-00 Portable ram 

Rod of Absorption 

Rod very rare (requires attunement) 

While holding this rod, you can use your reaction to 
absorb a spell that is targeting only you and not with an 
area of effect. The absorbed spell's effect is canceled, 
and the spells energy—not the spell itself—is stored in 
the rod. The energy has the same level as the spell when 
was cast. The rod can absorb and store up to 50 levels 
f energy over the course of its existence. Once the rod 
absorbs 50 levels of energy, it cant absorb more. If you 
ire targeted by a spell that the rod can't store, the rod 
has no effect on that spell. 

W hen you become attuned to the rod, you know how 
many levels of energy the rod has absorbed over the 
ourse of its existence, and how many levels of spell 
energy it currently has stored. 

If you are a spellcaster holding the rod. you can 
convert energy stored in it into spell slots to cast spells 
you have prepared or know. You can create spell slots 
inly of a level equal to or lower than your own spell 



Rod of 


Roes of THE 

Arcwmagi 


I9S 


CHAPTER 7 I TREASURE 



















Rgo of 
Resurrection 


CHAPTER 7 I TREASURE 
196 



slots, up to a maximum of 5th level You use the stored 
levels in place of your slots, but otherwise cast the spel’ 
as normal. For example, you can use 3 levels stored in 
the rod as a 3rd-!eve! spell slot, 

A newly found rod has Id 10 levels of speli energy 
stored in it already. A rod that can no longer absorb 
spell energy and has no energy remaining becomes 
non magical 

Rod of Alertness 

Rod, very rare (requires attunement) 

This rod has a hanged head and the following 
properties. 

Alertness. While holding the rod t you have advantage 
on Wisdom (Perception) checks and on rolls for 
initiative. 

Spells . While holding the rod, you can use an action 
to cast one of the following spells from it: detect evil and 
good, detect magic, detect poison and disease, or see 
invisibility 

Protective Aura. As an action, you can plant the haft 
end of the rod in the ground, whereupon the rod's head 
sheds bright light in a 60-foot radius and dim light for 
an additional 60 feet. While in that bright light you and 
any creature that is friendly to you gain a +1 bonus to 
AC and saving throws and can sense the location of an> 
invisible hostile creature that is also in the bright light. 

The rod s head stops glowing and the effect ends afte^ 
10 minutes, or when a creature uses an action to pull 
the rod from the ground. This property can't be used 
again until the next dawn. 

Rod of Lordly Might 
Rod. legendary (requires attunement) 

This rod has a flanged head, and it functions as a magi 
mace that grants a +3 bonus to attack and damage roll- 
made with it. The rod has properties associated with si>: 
different buttons that are set in a row along the haft. It 
has three other properties as well detailed below. 

Six Buttons. You can press one of the rod s six 
buttons as a bonus action. A button's effect lasts until 
you push a different button or until you push the same 
button again, which causes the rod to revert to its 
normal form. 

If you press button 1 , the rod becomes a dame tongue 
as a fiery blade sprouts from the end opposite the rod s 
flanged head. 

if you press button 2, the rod’s flanged head folds 
down and two crescent-shaped blades spring out, 
transforming the rod into a magic battleaxe that grants 
a +3 bonus to attack and damage rolls made with it. 

If you press button 3. the rod's flanged head folds 
down* a spear point springs from the rod s tip, and the 
rod s handle lengthens into a 6-foot haft, transforming 
the rod into a magic spear that grants a +3 bonus to 
attack and damage rolls made with it. 

If you press button 4. the rod transforms into a 
climbing pole up to 50 feet long, as you specify. In 
surfaces as hard as granite, a spike at the bottom and 
three hooks at the top anchor the pole. Horizontal 
bars 3 inches long fold out from the sides, 1 foot apart, 
forming a ladder. The pole can bear up to 4,000 pound- 






lore weight or Sack of solid an ■ ^ _ > - In rod to 

revert to its normal form. 

[f you press button 5, the rod transf rms into a 
handheld battering ram and grants irs user a -10 bonus 
10 Strength checks made to break through doors, 
barricades, and other barriers. 

If you press button 6, the rod assumes or remains in 
its normal form and indicates magnetic north. (Nothing 
happens if this function of the rod is used in a location 
rhat has no magnetic north.) The rod also gives you 
knowledge of your approximate depth beneath the 
ground or your height above it. 

Drain Life. When you hit a creature with a melee 
attack using the rod, you can force the target Lo make a 
DC 17 Constitution saving throw. On a failure, the target 
lakes an extra 4d6 necrotic damage, and you regain a 
number of hit points equal to half that necrotic damage. 
This property can t be used again until the next dawn. 
Paralyze, When you hit a creature with a melee attack 
using the rod, you can force the target to make a DC 
17 Strength saving throw. On a failure, the target is 
paralyzed for 1 minute. The target can repeat the saving 
throw at the end of each of its turns, ending the effect 
on a success. This property can't be used again until the 
next dawn. 

Terrify. While holding the rod. you can use an, action 
to force each creature you can see within 30 feet of you 

- make a DC 17 Wisdom saving throw. On a failure, 
i target is frightened of you for 1 minute. A frightened 

.rget can repeat the saving throw at the end of each of 
is turns, ending the effect on itself on a success. This 
r >perty can t be used again until the next dawn. 

Rod of the Pact Keeper 

Rod\ uncommon (+l) t rare (+2), or very rare (+3) 
squires attunement by a warlock) 

While holding this rod, you gain a bonus to spell attack 

- Us and to the saving throw DCs of your warlock spells. 
The bonus is determined by the rod's rarity. 

In addition, you can regain one warlock spell slot 
- an action while holding the rod. You can t use this 
: roperty again until you finish a long rest. 

Rod of Resurrection 

- ocL legendary (requires attunement by a cleric r druid, 
-paladin) 

The rod has 5 charges. While you hold it, you can use 
action to cast one of the follow ing spells from it: heal 
pends 1 charge) or resurrection (expends 5 charges). 
The rod regains 1 expended charge daily at dawn. If 
rod is reduced to 0 charges, roll a d20. On a 1. the 
: : disappears in a burst of radiance. 

Rod of Rulership 

Rod, rare (requires attunement) 

. u can use an action to present the rod and command 
bedience from each creature of your choice that you 
an see within 120 feet of you. Each target must succeed 
an a DC 15 Wisdom saving throw or be charmed by you 
8 hours. While charmed in this way, the creature 
regards you as its trusted leader. If harmed by you or 
j ur companions, or commanded to do something 


ontrary to its nature, a target ceases to be charmed 
in this way. The rod can't be used again until the 
next dawn. 

Rod of Security 
Rod. very rare 

While holding this rod, you can use an action to activate 
it. The rod then instantly transports you and up to 199 
other willing creatures you can see to a paradise that 
exists in an extraplanar space. You choose the form that 
the paradise takes. It could be a tranquil garden, lovely 
glade, cheery tavern, immense palace, tropical island, 
fantastic carnival, or whatever else you can imagine. 
Regardless of its nature, the paradise contains enough 
water and food to sustain its visitors. Everything else 
that can be interacted with inside the extraplanar space 
can exist only there. For example, a flower picked from 
a garden in the paradise disappears if it is taken outside 
the extraplanar space. 

For each hour spent in the paradise, a visitor regains 
hit points as if it had spent 1 Hit Die. Also, creatures 
don't age while in the paradise, although time passes 
normally. Visitors can remain in the paradise for up to 
200 days divided by the number of creatures present 
(round down). 

When the time runs out or you use an action to end it, 
all visitors reappear in the location they occupied when 
you activated the rod, or an unoccupied space nearest 
that location. The rod can t be used again until ten days 
have passed. 

Rope of Climbing 

Wondrous item , uncommon 

This 60-foot length of silk rope weighs 3 pounds and 
can hold up to 3,000 pounds. If you hold one end of the 
rope and use an action to speak the command word, the 
rope animates. As a bonus action, you can command the 
other end to move toward a destination you choose. That 
end moves 10 feet on your turn when you first command 
it and 10 feet on each of your turns until reaching its 
destination, up to its maximum length away, or until you 
tell it to stop. You can also tell the rope to fasten itself 
securely to an object or to unfasten itself, to knot or 
unknot itself, or to coil itself for carrying. 

If you tell the rope to knot, large knots appear at 
1-foot intervals along the rope. While knotted, the rope 
shortens to a 50-foot length and grants advantage on 
checks made to climb it. 

The rope has AC 20 and 20 hit points. It regains 1 
hit point every 5 minutes as long as it has at least 1 hit 
point. If the rope drops to 0 hit points, it is destroyed. 

Rope of Entanglement 
Wondrous item , rare 

This rope is 30 feet long and weighs 3 pounds. If you 
hold one end of the rope and use an action to speak its 
command word, the other end darts forward to entangle 
a creature you can see within 20 feet of you. The target 
must succeed on a DC 15 Dexterity saving throw or 
become restrained. 

You can release the creature by using a bonus action 
to speak a second command word, A target restrained 


CHAPTER 7 l TREASURE 
































by the rope can use an action to make a DC 15 Strength 
or Dexterity check (target 1 s choice). On a success, the 
creature is no longer restrained by the rope. 

The rope has AC 20 and 20 hit points. It regains 1 
hit point every 5 minutes as long as it has at least 1 hit 
point. If the rope drops to 0 hit points, it is destroyed. 


dlOO 

Creature Type 

dlOO 

Creature Type 

01-10 

Aberrations 

41-50 

Fey 

11-20 

Beasts 

51—75 

Fiends 

21-30 

Celestials 

76-80 

Plants 

31-40 

Elemental 

81-00 

Undead 


Saddle of the Cavalier 

Wondrous hem, uncommon 

While in this saddle on a mount, you can’t be 
dismounted against your will if you’re conscious, and 
attack rolls against the mount have disadvantage. 

Scarab of Protection 

I Vondrous item, legendary (requires attunement) 

if you hold this beetle-shaped medallion in your hand for 
1 round, an inscription appears on its surface revealing 
Its magical nature. It provides two benefits while it is on 
your person: 

* You have advantage on saving throws against spells. 

- The scarab has 12 charges. If you fail a saving throw 
against a necromancy spell or a harmful effect 
originating from an undead creature, you can use 
your reaction to expend 1 charge and turn the failed 
save into a successful one. The scarab crumbles 
into powder and is destroyed when its last charge 
is expended. 

Scimitar of Speed 

I Yeapon (scimitar), very rare (requires attunement) 

You gain a +2 bonus to attack and damage rolls made 
with this magic weapon. In addition, you can make one 
attack with it as a bonus action on each of your turns. 

Scroll of Protection 
Scroll rare 

Each scroll of protection works against a specific type of 
creature chosen by the DM or determined randomly by 
roiling on the following table. 


Using an action to read the scroll encloses you in a 
invisible barrier that extends from you to form a 5-foot- 
radius, 10-foot-high cylinder. For 5 minutes, this barrier 
prevents creatures of the specified type from entering or 
affecting anything within the cylinder. 

The cylinder moves with you and remains centered on 
you. However, if you move in such a way that a creature 
of the specified type would be inside the cylinder, the 
effect ends. 

A creature can attempt to overcome the barrier by 
using an action to make a DC 15 Charisma check. 

On a success, the creature ceases to be affected by 
the barrier. 

Sending Stones 

Wondrous item, uncommon 

Sending stones come in pairs, with each smooth stone 
carved to match the other so the pairing is easily 
recognized. While you touch one stone, you can use an 
action to cast the sending spell from it. I'he target is the 
bearer of the other stone. If no creature bears the other 
stone, you know that fact as soon as you use the stone 
and don't cast the spelh 

Once sending is cast through the stones, they can't be 
used again until the next dawn. If one of the stones in a 
pair is destroyed, the other one becomes nonmagical. 

Sentinel Shield 
A rnior (sh ieId), uncom mon 

While holding this shield, you have advantage on 
initiative rolls and Wisdom (Perception) checks. The 
shield is emblazoned with a symbol of an eye. 


CHAPTER 7 | TREASURE 


*99 







ld of Missile 

Att^ACTlOM 


Suppers of 
Spiper Climbing 


Spellguard 

Shield 


Slippers of Spider Climbing 

Wondrous item , uncommon (requires attunement) 

While you wear these light shoes, you can move up. 
down, and across vertical surfaces and upside down 
along ceilings, while leaving your hands free* You have 
a climbing speed equal to your walking speed. Howeyer 
the slippers don't allow you to move this way on a 
slippery surface* such as one covered by ice or oil. 

Sovereign Glue 

Wondrous item , legendary 

This viscous, milky-white substance can form a 
permanent adhesive bond between any two objects. 

It must be stored in ajar or flask that has been coated 
inside with oil of slipperiness. When found* a container 
contains Id6 + 1 ounces* 

One ounce of the glue can cover a 1-foot square 
surface. The glue takes 1 minute to set. Once it has 
done so, the bond it creates can be broken only by the 
application of universal solvent or o/7 of etherealness , r 
with a wish spell. 

Spell Scroll 

Scroll . varies 

A spell scroll bears the words of a single spell, writtei 
a mystical cipher. If the spell is on your class's spell Ih 
you can use an action to read the scroll and cast its spe 

without having to provide any of the spell's componer 
Otherwise, the scroll is unintelligible. 

If the spell is on your class's spell list but of a highe 
level than you can normally cast, you must make an 
ability check using your spellcasting ability to determ - 
whether you cast it successfully. The DC equals 10 + rh* 
spell's level. On a failed check, the spell disappears lr ~ 
the scroll with no other effect. 

Once the spell is cast, the words on the scroll fade, 
and the scroll itself crumbles to dust. 

The level of the spell on the scroll determines the 
spells saving throw DC and attack bonus, as well as th 
scroll's rarity, as shown in the Spell Scroll table. 

Spell Scroll 


Shield, +1, +2, or +3 

Armor (shield), uncommon (+1). rare (+2), or very 
rare (+3) 

While holding this shield, you have a bonus to AC 
determined by the shield’s rarity. This bonus is in 
addition to the shield’s normal bonus to AC* 

Shield of Missile Attraction 

Armor (shield), rare (requires attunement) 

While holding this shield, you have resistance to 
damage from ranged weapon attacks* 

Curse . This shield is cursed. Attuning to it curses 
you until you are targeted by the remove curse spell 
or similar magic. Removing the shield fails to end the 
curse on you* Whenever a ranged weapon attack is 
made against a target within 10 feet of you, the curse 
causes you to become the target instead. 


Spell Level 

Rarity 

Save DC 

Attack Bonus 

Cantrip 

Common 

13 

+5 

1st 

Common 

13 

+5 

2nd 

Uncommon 

13 

*5 

3rd 

Uncommon 

15 

+7 

4th 

Rare 

15 

+7 

5th 

Rare 

17 

+9 

6th 

Very rare 

17 

+9 

7th 

Very rare 

IS 

+10 

Sth 

Very rare 

IS 

+10 

9th 

Legendary 

19 

+11 


A wizard spell on a spell scroll can be copied just 
as spells in spellbooks can be copied. When a spell is 
copied from a spell scroll , the copier must succeed on 
an Intelligence (Arcana) check with a DC equal to 10 
+ the spell’s level* If the check succeeds, the spell is 


CHAPTER 7 I TREASURE 







































successfully copied. Whether the :he:k succeeds or 
fails, the spell scroll is destroyed. 

Sfellguard Shield 

Armor (shield), very rare (requires anunement) 

While holding this shield, you have advantage on saving 
throws against spells and other magical effects, and 
spell attacks have disadvantage against you. 

Sphere of Annihilation 

\ Vondrous item, legendary 

This 2Toot-diameter black sphere is a hole in the 
multi verse, hovering in space and stabilized by a 
magical field surrounding it. 

The sphere obliterates all matter it passes through 
and all matter that passes through it. Artifacts are the 
exception. Unless an artifact is susceptible to damage 
from a sphere of annihilation, it passes through the 
sphere unscathed. Anything else that touches the sphere 
but isn’t wholly engulfed and obliterated by it takes 4clI0 
force damage. 

The sphere is stationary until someone controls it. 

If you are within 60 feet of an uncontrolled sphere, 
you can use an action to make a DC 25 Intelligence 
: Arcana) check. On a success, the sphere levitates in one 
direction of your choice, up to a number of feet equal to 
5 x your Intelligence modifier (minimum 5 feet). On a 
failure, the sphere moves 10 feet toward you. A creature 
whose space the sphere enters must succeed on a DC 
13 Dexterity saving throw or be touched by it, taking 
4dlQ force damage. 

If you attempt to control a sphere that is under another 
creature’s control, you make an Intelligence (Arcana) 
check contested by the other creature’s Intelligence 
(Arcana) check. The winner of the contest gains control 
of Lhe sphere and can levitate it as normal. 

If the sphere comes into contact with a planar 
portal such as that created by the gate spell or an 
extradimensional space, such as that within a portable 
hole, the DM determines randomly what happens, using 
the following table, 

cflOQ Result 

61 —50 The sphere is destroyed, 

51-85 The sphere moves through the portal or into the 
extradimensional space, 

S6-GQ A spatial rift sends each creature and object within 
180 feet of the sphere, including the sphere, to a 
random plane of existence. 

Staff of Charming 

Staff rare (requires attunement by a bard, cleric, druid, 
sorcerer warlock, or wizard) 

While holding this staff, you can use an action to expend 
1 of its 10 charges to cast charm person, command, or 
comprehend languages from it using your spell save DC. 
The staff can also be used as a magic quarterstaff. 

If you are holding the staff and fail a saving throw' 
against an enchantment spell that targets only you, you 
can turn your failed save into a successful one. You 
can't use this property of the staff again until the next 



Stapfop 
CwrtRMlhtG 


dawn. If you succeed on a save against an enchantment 
spell that targets only you, with or without the staffs 
intervention, you can use your reaction to expend I 
charge from the staff and turn the spell back on its 
caster as if you had cast the spell 
The staff regains ld8 + 2 expended charges daily at 
dawn. If you expend the last charge, roll a d2Q. On a 1. 
the staff becomes a nonmagical quarterstaff. 


Staff of Fire 


Staff, very rare (requires attunement by a druid, 
sorcerer ; warhek, or wizard) 


You have resistance to fire damage while you hold 
this staff. 

The staff has 10 charges. White holding it, you can use 
an action to expend 1 or more of its charges to cast one 
of the following spells from it, using vour spell save DC: 
burning hands (1 charge), fireball (3 charges), or wall of 
fire (4 charges). 

The staff regains UJ6 + 4 expended charges daily 
at dawn. If you expend the Iasi charge, roll a d20. On 
a 1, the staff blackens, crumbles into cinders, and is 
destroyed. 


CHAPTER 7 I TREASURE 

SOI 














Staff of 
Power 




Staff of 

Swarming Insects 


Staff of Frost 

Staff, very rare (requires artunement by a druid* 
sorcerer, warlock, or wizard) 

You have resistance to cold damage while you hold 
this staff. 

The staff has 10 charges. White holding it. you can use 
an action to expend 1 or more of its charges to cast on>r 
of the following spells from it, using your spell save DC 
cone of cold (5 charges), fog cloud (1 charge), ice stern 
(4 charges), or wall of ice (4 charges). 

The staff regains ld6 + 4 expended charges daily at 
dawn. If you expend the last charge, roll a d20. On a 1* 
the staff turns to water and is destroyed. 

Staff of Healing 

Staff, rare (requires altunement by a bard, cleric, or 
druid) 

This staff has 10 charges. While holding it. you can use 
an action to expend 1 or more of its charges to cast one 
of the following spells from it, using your spell save DC 
and spellcasting ability modifier: cure wounds (1 chare* 
per spell level, up to 4th). lesser restoration (2 charges 
or mass cure wounds (5 charges). 

The staff regains ld6 + 4 expended charges daily at 
dawn. If you expend the last charge, roll a d20. On a 1. 
the staff vanishes in a hash of light, lost forever. 

Staff of Power 

Staff, very rare (requires at tenement by a sorcerer 
warlock . or wizard) 

This staff can be wielded as a magic quarterstaff that 
grants a +2 bonus to attack and damage rolls made with 
it. While holding it. you gain a +2 bonus to Armor Gas- 
saving throws, and spell attack rolls. 

The staff has 20 charges for the following properties. 
The staff regains 2d8 + 4 expended charges daily at 
dawn. If you expend the last charge, roll a d20. On a 1. 
the staff retains its +2 bonus to attack and damage rolls 
but loses all other properties. On a 20, the staff regains 
ld8 + 2 charges. 

Power Strike* When you hit with a melee attack using 
the staff, you can expend l charge to deal an extra ld6 
force damage to the target. 

Spells • While holding this staff, you can use an actio: 
to expend I or more of its charges to cast one of the 
following spells from it. using your spell save DC and 
spell attack bonus: cone of cold (5 charges), fireball 
(5th-level version, 5 charges), globe of invulnerability (6 
charges), hold monster (5 charges), levitate (2 charges). 
lightning bolt (5th4evel version, 5 charges), magic 
missile (1 charge), ray of enfceblcment (1 charge), or 
wall of force (5 charges). 

Retributive Strike, You can use an action to break 
the staff over your knee or against a solid surface, 
performing a retributive strike. The staff is destroyed 
and releases its remaining magic in an explosion that 
expands to fill a 30-foot-radius sphere centered on it. 

You have a 50 percent chance to instantly travel to 
a random plane of existence, avoiding the explosion. 

If you fail to avoid the effect, you take force damage 


Staff of 
Frost 


CHAPTER 7j TREASURE 













equal to 16 * the number of charges in :he staff. Every 
[her creature in the area must make a DC i " Dexterity 
saving throw. On a failed save, a creature takes an 
amount of damage based on how far awa\ it is from the 
point of origin, as shown in the follow ing table. On a 
successful save, a creature takes half as much damage. 

Distance from Origin Damage 

10 ft. away or closer S x the number of charges in the staff 

11 to 20 ft. away 6 x the number of charges in the staff 
21 to 30 ft. away 4 x the number of charges in the staff 

Staff of Striking 

Staff, very rare (requires at tenement) 

This staff can he wielded as a magic quarterstaff 
.hat grants a 4-3 bonus to attack and damage rolls 
made with it. 

The staff has 10 charges. When you hit with a melee 
Attack using it, you can expend up to 3 of its charges. 

For each charge you expend, the target takes an extra 
ld6 force damage. The staff regains ld6 + 4 expended 
. barges daily at dawn. If you expend the last charge, 
roll a d20, On a 1, the staff becomes a nonmagical 
:;ua rterstaff. 

Staff of Swarming Insects 

Staff, rare (requires attunement by a bard, cleric, druid, 
sorcerer, warlock, or wizard) 

This staff has 10 charges and regains ld6 + 4 expended 
barges daily at dawn. If you expend the last charge, 

“oil a d20. On a 1, a swarm of insects consumes and 
destroys the staff, then disperses. 

Spells . While holding the staff, you can use an 
action to expend some of its charges to cast one of the 
following spells from it T using your spell save DC: giant 
insect (4 charges) or insect plague (5 charges). 

Insect Cloud, While holding the staff, you can use 
an action and expend 1 charge to cause a swarm of 
harmless flying insects to spread out in a 30-foot radius 
from you. The insects remain for 10 minutes, making 
the area heavily obscured for creatures other than you. 
The swarm moves with you, remaining centered on 
you. A wind of at least 10 miles per hour disperses the 
swarm and ends the effect. 

Staff of the Adder 

Staff, uncommon (requires attunement by a cleric, druid, 
or warlock) 

You can use a bonus action to speak this staffs 
command word and make the head of the staff become 
that of an animate poisonous snake for 1 minute. By 
using another bonus action to speak the command word 
again, you return the staff to its normal inanimate form. 

You can make a melee attack using the snake head, 
which has a reach of 5 feet. Your proficiency bonus 
applies to the attack roll. On a hit, the target takes 
ld6 piercing damage and must succeed on a DC 15 
Constitution saving thrower take 3d6 poison damage. 


The snake head can be attacked while it is animate. It 
has an Armor Class of 15 and 20 hit points. If the head 
drops to 0 hit points, the staff is destroyed. As long as 
it’s not destroyed, the staff regains all lost hit points 
when it reverts to its inanimate form. 

Staff of the Magi 

Staff, legendary (requires attunement by a sorcerer, 
warlock, or wizard) 

This staff can be wielded as a magic quarterstaff that 
grants a +2 bonus to attack and damage rolls made 
with it. While you hold it, you gain a +2 bonus to spell 
attack rolls. 

The staff has 50 charges for the following properties. 

It regains 4d6 + 2 expended charges daily at dawn. If 
you expend the last charge, roll a d20. On a 20, the staff 
regains Id 12 + 1 charges. 

Spell Absorption. While holding the staff, you have 
advantage on saving throws against spells. In addition, 
you can use your reaction when another creature casts 
a spell that targets only you. If you do, the staff absorbs 
the magic of the spelt, canceling its effect and gaining 
a number of charges equal to the absorbed spell s level. 
However, if doing so brings the staff's total number of 
charges above 50, the staff explodes as if you activated 
its retributive strike (see below). 

Spells . While holding the staff, you can use an 
action to expend some of its charges to cast one of the 
following spells from it, using your spell save DC and 
spellcasting ability: conjure elemental (7 charges), dispel 
magic (3 charges), fireball (7th-level version, 7 charges), 
darning sphere (2 charges), ice storm (4 charges). 
invisibility (2 charges), knock (2 charges), lightning bolt 
(7th-level version. 7 charges), passwali (5 charges), plane 
shift (7 charges), telekinesis (5 charges), wall of fire (4 
charges), or web (2 charges). 

You can also use an action to cast one of the following 
spells from the staff without using any charges: arcane 
lock, detect magic, enlarge/reduce, light , mage hand, or 
protection from evil and good. 

Retributive Strike * You can use an action to break 
the staff over your knee or against a solid surface, 
performing a retributive strike. The staff is destroyed 
and releases its remaining magic in an explosion that 
expands to fill a 30-foot-radius sphere centered on it. 

You have a 50 percent chance to instantly travel to 
a random plane of existence, avoiding the explosion. 

If you fail to avoid the effect, you take force damage 
equal to 16 * the number of charges in the staff. Every 
other creature in the area must make a DC 17 Dexterity 
saving throw. On a failed save, a creature takes an 
amount of damage based on how far away it is from the 
point of origin, as shown in the following table. On a 
successful save, a creature takes half as much damage. 

Di sta n ce fro m Ori g i n Dam age 

10 ft. away or closer S x the number of charges in the staff 

11 to 20 ft. away 6 x the number of charges in the staff 

21 to 30 ft, away 4 x the number of charges in the staff 


C: H A FT ER 7 [ TR V- A SU k E 


204 



Staff of the Python 

Staff, uncommon (requires attunement by a cleric, druid, 
or warlock) 

You can use an action to speak this staff’s command 
word and throw the staff on the ground within 10 feet 
of you. The staff becomes a giant constrictor snake (see 
the Monster Manual for statistics) under your control 
and acts on its own initiative count. By using a bonus 
action to speak the command word again, you return the 
staff to its normal form in a space formerly occupied by 
the snake. 

On your turn, you can mentally command the snake 
if it is within 60 feet of you and you aren't incapacitated. 
You decide what action the snake takes and where it 
moves during its next turn, or you can issue it a general 
command, such as to attack your enemies or guard 
a location. 

if the snake is reduced to 0 hit points, it dies and 
reverts to Its staff form. The staff then shatters and is 
destroyed. If the snake reverts to staff form before losing 
all its hit points, it regains all of them. 

Staff of the Woodlands 

Staff rare (requires attunement by a druid) 

This staff can be wielded as a magic quarterstaff that 
grants a +2 bonus to attack and damage rolls made 
with it. While holding it, you have a +2 bonus to spell 
attack rolls. 

The staff has 10 charges for the following properties. 

It regains ld6 + 4 expended charges daily at dawn. 

If you expend the last charge, roll a d20. On a 1, the 
staff loses its properties and becomes a non magical 
quarterstaff. 

Spells . You can use an action to expend 1 or more 
of the staffs charges to cast one of the following spells 
from it. using your spell save DC: animal friendship (1 
charge), awaken (5 charges), barkskin (2 charges), locate 
animals or plants (2 charges), speak with animals (1 
charge), speak with plants (3 charges), or wall of thorns 
(6 charges). 

You can also use an action to cast the pass without 
trace spell from the staff without using any charges. 

Tree Form . You can use an action to plant one end 
of the staff in fertile earth and expend 1 charge to 
transform the staff into a healthy tree. The tree is 60 feet 
tall and has a 5-foot-diameter trunk, and its branches at 
the top spread out in a 20-foot radius. The tree appears 
ordinary but radiates a faint aura of transmutation 
magic if targeted by defect magic. While touching the 
tree and using another action to speak its command 
word, you return the staff to its normal form. Any 
creature in the tree falls when it reverts to a staff. 

Staff of Thunder and Lightning 

Staff very rare (requires attunement) 

This staff can he wielded as a magic quarterstaff that 
grants a +2 bonus to attack and damage rolls made with 
it. It also has the following additional properties. When 
one of these properties is used, it can’t be used again 
until the next dawn. 


CHAFF ER 7 TREASURE 












m~- of Thunder 
_ - Cj H T N L N & 


Staff of the Woodlands 


= "%ff of Withering 


Stone of Controlling 
Earth Eleventa^s 


Lightning. When you hit with a melee attack using 
the staff, you can cause the target to take an extra 2d6 
lightning damage* 

Thunder* When you hit with a melee attack using the 
staff* you can cause the staff to emit a crack of thunder, 
audible out to 300 feet. The target you hit must succeed 
on a DC 17 Constitution saving throw or become 
stunned until the end of your next turn. 

Lightning Strike* You can use anactiootocausea 
bolt of lightning to leap from the staff’s tip in a line that 
is 5 feet wide and 120 feet long. Each creature in that 
line must make a DC 17 Dexterity saving throw* taking 
9d6 lightning damage on a failed save* or half as much 
damage on a successful one. 

Thunderclap* You can use an action to cause the staff 
to issue a deafening thunderclap* audible out to 600 
feet. Each creature within 60 feet of you (not including 
you) must make a DC 17 Constitution saving throw* On 
a failed save* a creature takes 2d6 thunder damage and 
becomes deafened for 1 minute* On a successful save, a 
creature takes half damage and isn't deafened* 

Thunder and Lightning* You can use an action to 
use the Lightning Strike and Thunderclap properties at 
the same time* Doing so doesn't expend the daily use of 
those properties* only the use of this one* 

Staff of Withering 

Staff, rare (requires allurement by a cleric, druid, or 
warlock) 

This staff has 3 charges and regains 1d3 expended 
charges daily at dawn. 

The staff can be wielded as a magic quarterstaff. On 
a hit, it deals damage as a normal quarterstaff, and you 
can expend 1 charge to deal an extra 2d 10 necrotic 
damage to the target. In addition* the target must 
succeed on a DC 15 Constitution saving throw or have 
disadvantage for 1 hour on any ability check or saving 
throw that uses Strength or Constitution* 

Stone of Controlling Earth Elementals 

Wondrous item* rare 

If the stone is touching the ground, you can use an 
action to speak its command word and summon an 
earth elemental, as if you had cast the conjure elemental 
spell* The stone can t be used this way again until the 
next dawn. The stone weighs 5 pounds* 

Stone of Good Luck (Luckstone) 

Wondrous item, uncommon (requires at tenement) 

While this polished agate is on your person* you gain a 
+1 bonus to ability checks and saving throws. 

Sun Blade 

Weapon (iongsword), rare (.requires attunement) 

This item appears to be a Iongsword hilt* While 
grasping the hilt, you can use a bonus action to cause a 
blade of pure radiance to spring into existence, or make 
the blade disappear. While the blade exists* this magic 
Iongsword has the finesse property. If you are proficient 
with shortsw r ords or longswords* you are proficient with 
the sun blade . 


CHAPTER 7 1 TREASURE 


SO 5 





















Sword of Sharpness 


You gain a +2 bonus to attack and damage rolls made 
with this weapon, which deals radiant damage instead 
of slashing damage. When you hit an undead with it, 
that target takes an extra 1 dS radiant damage. 

I he sword s luminous blade emits bright light in a 
15-foot radius and dim light for an additional 15 feet. 
The light is sunlight. While the blade persists, you can 
use an action to expand or reduce its radius of bright 
and dim light by 5 feet each, to a maximum of 30 feet 
each or a minimum of 10 feet each. 

Sword of Answering 

Weapon (longsword). legendary (requires attunement by 
a creature with the same alignment as the sword) 

In the world of Greyhawk, only nine of these blades are 
known to exist Each is patterned after the legendary 
sword Fragaraeh, which is variously translated as 
“Final Word," Each of the nine swords has its own 
name and alignment, and each bears a different gem in 
its pommel. 


Name 

Alignment 

Gem 

Answerer 

Chaotic good 

Emerald 

Back Talker 

Chaotic evil 

jet 

Concluder 

Lawful neutral 

Amethyst 

Last Quip 

Chaotic neutral 

Tourmaline 

Rebutter 

Neutral good 

Topaz 

Repfier 

Neutral 

Peridot 

Retorter 

Lawful good 

Aquamarine 

Scather 

Lawful evil 

Garnet 

Squelcher 

Neutral evil 

Spinel 


You gain a +3 bonus to attack and damage rolls made 
with this sword. In addition, while you hold the sword, 
you can use your reaction to make one melee attack 
with it against any creature in your reach that deals 
damage to you. You have advantage on the attack roll, 
and any damage dealt with this special attack ignores 
any damage immunity or resistance the target has. 


Sword of Life Stealing 

Weapon (any sword), rare (requires attunement) 

When you attack a creature with this magic weapon m 
roll a 20 on the attack roll, that target takes an extra 11 
necrotic damage if it isn't a construct or an undead. \ 
also gain 10 temporary hit points. 

Sword of Sharpness I 

Weapon (any sword that deals slashing damage), very 
rare (requires attunement) 

When you attack an object with this magic sword 
and hit, maximize your weapon damage dice against 
the target. 

When you attack a creature with this weapon and 
roll a 20 on the attack roll, that target takes an extra 
slashing damage. Then roll another d20, If you roll a - li 
you lop off one of the target's limbs, with the effect of 
such loss determined by the DM. If the creature has : 
limb to sever, you lop off a portion of its body instead 
In addition, you can speak the sword's command w 
to cause the blade to shed bright light in a 10-foot rad; J 
and dim light for an additional 10 feet. Speaking the 
command word again or sheathing the sword puts out 
the light. 

Sword of Vengeance 1 

Weapon (any sword% uncommon (requires attuneme: t 

You gain a +1 bonus to attack and damage rolls mad- 
with this magic weapon. 

Corse, This sword is cursed and possessed by a 
vengeful spirit. Becoming attuned to it extends the cu: ^ 
to you. As long as you remain cursed, you are unwili ::.z 
to part with the sword, keeping it on your person at 
all times. While attuned to this weapon, you have 
disadvantage on attack rolls made with weapons other 
than this one. 

In addition, while the sword is on your person, 
you must succeed on a DC 15 Wisdom saving throw 
whenever you take damage in combat. On a failed sav? 
you must attack the creature that damaged you until. o* 


CHAPTER 7 


TREASURE 































Talisman of 
Ultimate Evil 


alignment, a flaming Assure opens under it. The target 
must succeed on a DC 20 Dexterity saving throw or fall 
into the fissure and be destroyed, leaving no remains. 
The fissure then closes, leaving no trace of its existence. 
When you expend the last charge, the talisman 
disperses into motes of golden light and is destroyed. 

Talisman of the Sphere 

Wondtons item , legendary (requires attunemcnt) 

When you make an Intelligence (Arcana) check to 
control a sphere of annihilation while you are holding 
this talisman, you double your proficiency bonus on the 
check. In addition, when you start your turn with control 
over a sphere of annihilation, you can use an action to 
levitate it 10 feet plus a number of additional feet equal 
to 10 x your Intelligence modifier. 

Talisman of Ultimate Evil 

Wondrous item, legendary (requires at tune me nt by a 

creature of evil alignment) 

This item symbolizes unrepentant evil A creature that 
is neither good nor evil in alignment takes 6d6 necrotic 
damage upon touching the talisman, A good creature 
takes 8d6 necrotic damage upon touching the talisman. 
Either sort of creature takes the damage again each 
time it ends its turn holding or carrying the talisman. 

If you are an evil cleric or paladin, you can use the 
talisman as a holy symbol, and you gain a +2 bonus to 
spell attack rolls while you wear or hold it. 

The talisman has 6 charges. If you are wearing or 
holding it, you can use an action to expend 1 charge 
from the talisman and choose one creature you can 
see on the ground within 120 feet of you. If the target 
is of good alignment, a flaming Assure opens under it. 
The target must succeed on a DC 20 Dexterity saving 
throw or fall into rhe Assure and be destroyed, leaving 
no remains. The Assure then closes, leaving no trace 
of its existence. W hen you expend the last charge, 
the talisman dissolves into foul-smelling slime and is 
destroyed. 


CHAPTER 7 | TREASURE 


2Q7 


Tallyman 
of the Sphere 


Sword of Wounding 

Weapon (any sword), rare (requires attunement) 

liit points lost to this weapon's damage can be regained 
only through a short or long rest, rather than by 
regeneration, magic, or any other means. 

Once per turn, when you hit a creature with an attack 
using this magic weapon, you can wound the target. 

At the start of each of the wounded creatures turns, 
it takes Id4 necrotic damage for each time you’ve 
wounded it, and it can then make a DC 15 Constitution 
saving throw ? , ending the effect of all such wounds on 
itself on a success. Alternatively, the wounded creature, 
or a creature within 5 feet of it, can use an action to 
make a DC 15 Wisdom (Medicine) check, ending the 
effect of such wounds on it on a success. 


Talisman of Pure Good 

\ Vondrous item t legendary (requires attunement by a 
: feature of good alignment) 

This talisman is a mighty symbol of goodness, A 
creature that is neither good nor evil in alignment takes 
6d6 radiant damage upon touching the talisman. An 
evil creature takes 8d6 radiant damage upon touching 
he talisman. Either sort of creature takes the damage 
igain each time it ends its turn holding or carrying 
lie talisman. 

If you are a good cleric or paladin, you can use the 
alisman as a holy symbol, and you gain a +2 bonus to 
spell attack rolls while you wear or hold it. 

The talisman has 7 charges. If you are wearing or 
holding it, you can use an action to expend 1 charge 
from it and choose one creature you can see on the 
ground within 120 feet of you. If the target is of evil 


drop to 0 hit points or it does, or until you can't reach 
the creature to make a melee attack against it. 

You can break the curse in the usual ways. 
Alternatively, casting banishment on the sword forces 
Lhe vengeful spirit to leave it. The sword then becomes a 
+] weapon with no other properties. 






















Vicious Weapon 



Tome of Clear Thought 


Tentacle Rod 


Tome of Le ad e sshi p 


Tome of 
Understanding 


208 


Tentacle Rod 

Rod , rare (requires attune men t) 


Made by the drow, this rod is a magic weapon that ends 
in three rubbery tentacles. While holding the rod, you 
can use an action to direct each tentacle to attack a 
creature you can see within 15 feet of you. Each tentac - 
makes a melee attack roll with a +9 bonus. On a hit, 
the tentacle deals ld6 bludgeoning damage. If you hit 
a target with all three tentacles, it must make a DC 15 
Constitution saving throw. On a failure, the creature's 
speed is halved, it has disadvantage on Dexterity 
saving throws, and it can't use reactions for 1 minute. 
Moreover, on each of its turns, it can take either an 
action or a bonus action, but not both. At the end of ea r 
of its turns, it can repeat the saving throw, ending the 
effect on itself on a success. 


Tome of Clear Thought 

Wondrous item, very rare 

This book contains memory and logic exercises, and - 
words are charged with magic. If you spend 48 hours 
over a period of 6 days or fewer studying the book s 
contents and practicing its guidelines, your Intelligent, 
score increases by 2, as does your maximum for that 
score. The manual then loses its magic, but regains it 
a century. 

Tome of Leadership and Influence 

Wondrous item, very rare 

This book contains guidelines for influencing and 
charming others, and its words are charged with 
magic. If you spend 48 hours over a period of 6 days or 
fewer studying the book’s contents and practicing its 
guidelines, your Charisma score increases by 2. as d< - 
your maximum for that score. The manual then loses 
magic, but regains it in a century. 

Tome of the Stilled Tongue 

Wondrous item r legendary (requires attunement by a 
wizard) 

This thick leather-bound volume has a desiccated 
tongue pinned to the front cover. Five of these tomes 
exist, and it’s unknown which one is the original Thv 
grisly cover decoration on the first tome of the stilled 
tongue once belonged to a treacherous former servant 
of the lich-god Veen a, keeper of secrets. The tongues 
pinned to the covers of the four copies came from other 
spell casters who crossed Vecna, The first few T pages < 
each tome are filled with indecipherable scrawls. The 
remaining pages are blank and pristine. 

If you can attune to this item, you can use it as a 
spellbook and an arcane focus. In addition, while 
holding the tome, you can use a bonus action to cast a 
spell you have written in this tome, without expendin_ 
a spell slot or using any verbal or somatic component 
Once used, this property of the tome can't be used agars 
until the next dawn. 

While attuned to the book, you can remove the tong;_- 
from the book's cover, if you do so, all spells written in 
the book are permanently erased. 



CHAPTER 7 I TREASURE 





























CHAPTER 7 ! TREASURE 


Veen a watches anyone using this tome. He can also 
v. rite cryptic messages in the book. These messages 
appear at midnight and fade awaj after they are read. 

Tome of Understanding 

7 1 ondrous item, very rare 

This book contains intuition and insight exercises, and 
ns words are charged with magic. If you spend 48 hours 
er a period of 6 days or fewer studying the book's 
.intents and practicing its guidelines, your Wisdom 
- ore increases by 2. as does your maximum for that 
~ ore* The manual then loses its magic, but regains it in 
a century. 


v/or^al s^oao 


Vorpal Sword 

Weapon (any sword that deals slashing damage), 

.egendary (requires attuncment) 

You gain a +3 bonus to attack and damage rolls made 
with this magic weapon* In addition, the weapon ignores 
resistance to slashing damage. 

When you attack a creature that has at least one head 
with this weapon and roll a 20 on the attack roll, you 
cut off one of the creature's heads* The creature dies 
if it can't survive without the lost head. A creature is 
immune to this effect if it is immune to slashing damage* 
doesn’t have or need a head, has legendary actions, or 
i he DM decides that the creature is too big for its head 
io he cut off with this weapon. Such a creature instead 
takes an extra 6d8 slashing damage from the hit. 


Wand of Binding 

l Vand\ rare (requires attunement by a spellc aster) 

This wand has 7 charges for the following properties. It 
regains ld6 + 1 expended charges daily at dawn. If you 
expend the wand s last charge, roll a d20, On a L the 
wand crumbles into ashes and is destroyed. 

Spells . While holding the wand, you can use an 
action to expend some of its charges to cast one of the 


Universal 

Solvent 


I r. i dent of Fish Command 
U eapon (trident), uncommon (requires attunement) 

This trident is a magic weapon* It has 3 charges. While 
an carry it* you can use an action and expend 1 charge 
: ' cast dominate beast (save DC 15) from it on a beast 
hat has an innate swimming speed. The trident regains 
ld3 expended charges daily at dawn. 


Universal Solvent 

■ i ondrous item , legendary 

This tube holds milky liquid with a strong alcohol 
smell You can use an action to pour the contents of the 
tube onto a surface within reach. The liquid instantly 
dissolves up to 1 square foot of adhesive it touches, 
including sovereign glue * 


Vicious Weapon 
I Yeapon (any), rare 

When you roll a 20 on your attack roll with this magic 
weapon, the target lakes an extra 7 damage of the 
weapons type. 


Trident of 
Fjsn Command 









following spells (save DC 17}: hold monster (5 charges) 
or hold person (2 charges). 

Assisted Escape. While holding the wand, you 
can use your reaction to expend 1 charge and gain 
advantage on a saving throw you make to avoid being 
paralyzed or restrained, or you can expend 1 charge 
and gain advantage on any check you make to escape 
a grapple. 

Wand of Enemy Detection ] 

Wand, rare (requires attunement) 

This wand has 7 charges. While holding it, you can use 
an action and expend 1 charge to speak its command 
word. For the next minute, you know the direction of the 
nearest creature hostile to you within 60 feet, but not its 
distance from you. The wand can sense the presence of 
hostile creatures that are ethereal invisible, disguised, 
or hidden, as well as those in plain sight. The effect ends 
if you stop holding the wand. 

The wand regains ld6 + 1 expended charges daily at 
dawn. If you expend the wand’s last charge, roll a d20. 

On a 1. the wand crumbles into ashes and is destroyed, 

Wand of Fear I 

Wand, rare (requires attunement) 

This wand has 7 charges for the following properties. It 
regains ld6+ 1 expended charges daily at dawn. If you 
expend the wand's last charge, roll a d20. On a 1, the 
wand crumbles into ashes and is destroyed. 

Command . While holding the wand, you can use 
an action to expend I charge and command another 
creature to flee or grovel, as with the command spell 
(save DC 15). 

Cone of Fear. While holding the wand, you can use 
an action to expend 2 charges, causing the wand's tip tc 
emit a 60-foot cone of amber light. Each creature in the 
cone must succeed on a DC 15 Wisdom saving throw 
or become frightened of you for 1 minute. While it is 
frightened in this way, a creature must spend its turns 
trying to move as far away from you as it can, and it car ' 
willingly move to a space within 30 feet of you. It also 
can't take reactions. For its action, it can use only the 
Dash action or try to escape from an effect that prevent =• 
it from moving, if it has nowhere it can move, the 
creature can use the Dodge action. At the end of each 
its turns, a creature can repeat the saving throw, ending 
the effect on itself on a success. 

Wand of Fireballs 

Wand, rare (requires attunement by a spellcaster) 

This wand has 7 charges. While holding it, you can us~ 
an action to expend 1 or more of its charges to cast the 
fireball spell (save DC 15) from it. For 1 charge, you 
cast the Srd-Ievel version of the spell. You can increase 
the spell slot level by one for each additional charge 
you expend. 

The wand regains ld6 + 1 expended charges daily at 
dawn. If you expend the wand's last charge, roll a d20. 

On a 1, the wand crumbles into ashes and is destroyed 


yio 


CHAPTER 7 i TREASL RL 








■'■and of Lightning Bolts 

Hand rare (requires attunement by a spellcaster) 

This wand has 7 charges. While holding it, you can use 
an action to expend 1 or more of its charges to cast the 
Sghtning bolt spell (save DC 15) from it* For 1 charge, 
u cast the 3rd-level version of the spell. You can 
increase the spell slot level by one for each additional 
rharge you expend. 

The wand regains ld6 + 1 expended charges daily at 
:awn, If you expend the wands last charge, roll a d20* 
n a 1, the wand crumbles into ashes and is destroyed* 

Wand of Magic Detection 

Wand, uncommon 

This wand has 3 charges. While holding it, you can 
-xpend 1 charge as an action to cast the detect magic 
spell from it. The wand regains ld3 expended charges 
daily at dawn* 

Wand of Magic Missiles 

Viand, uncommon 

This wand has 7 charges. While holding it, you can use 
n action to expend 1 or more of its charges to cast the 
: agic missile spell from it. For 1 charge, you cast the 
1 st-level version of the spell. You can increase the spell 
- 3t level by one for each additional charge you expend. 

The wand regains ld6 + 1 expended charges daily at 
dawn* If you expend the wand’s last charge, roll a d20. 

1 1 a 1, the wand crumbles into ashes and is destroyed. 

Wand of Paralysis 

\ and , rare (requires attunement by a spellcaster) 

This wand has 7 charges. While holding it* you can use 
an action to expend 1 of its charges to cause a thin blue 
ray to streak from the tip toward a creature you can see 
within 60 feet of you. Make a ranged attack roll against 

_ that creature using your spell attack bonus. On a hit* the 

target is paralyzed for 1 minute. At the end of each of the 
target's turns* it can repeat the saving throw* ending the 
effect on itself on a success* 

The wand regains ld6 + 1 expended charges daily at 
dawn* If you expend the wand’s last charge, roll a d20. 
On a 1, the wand crumbles into ashes and is destroyed, 

■ Wand of Polymorph 

\ l and. very rare (requires attunement by a spe lie aster) 

This wand has 7 charges. While holding it* you can 
use an action to expend 1 of its charges to cast the 
polymorph spell (save DC 15) from it. 

The wand regains ld6 + 1 expended charges daily at 
dawn. If you expend the wand’s last charge* roll a d20. 
On a L the wand crumbles into ashes and is destroyed, 

I Wand of Secrets 

Wand, uncommon 

The wand has 3 charges. While holding it, you can use 
an action to expend 1 of its charges, and if a secret door 
or trap is within 30 feet of you, the wand pulses and 
points at the one nearest to you* The wand regains ld3 
expended charges daily at dawn* 




Wand o? Lightning. Bolts 


Wand of Magic Detection 


Wand of Magic Missiles 


Wand of Paralysis 




CHAPTER ? | fKILASURE 

V---. 211 






















dl 00 
01-05 
06-10 
11-15 

16-20 
21 -25 


26-30 

31-3.3 


34-36 


37-46 

47-49 






Wand of Wee 


wand of Wonder 


50-53 


Effect 

You cast stow. 

You cast faerie fire. 

You are stunned until the start of your next turr, 
bel ieving something awesome just happened. 

You cast gust oj wind . 

You cast detect thoughts on the target you chose 
If you didn't target a creature, you instead take ": f 
psychic damage. 

You cast stinking cloud. 

Heavy rain falls in a 60-foot radius centered on r e 
target. The area becomes lightly obscured. The ri ~ 
falls until the start of your next turn. 

An animal appears in the unoccupied space 
nearest the target. The animal isn't under your 
control and acts as it normally would. Roll a did 
to determine which animal appears. On a 01-25, 
a rhinoceros appears; on a 26—50, an elephant 
appears; and on a 51-100, a rat appears. See the 
Monster Manual for the animal's statistics. 

You cast lightning holt , 

A cloud of 600 oversized butterflies fills a 30-foc: 
radius centered on the target. The area becomes 
heavily obscured. The butterflies remain for 10 
minutes. 

You enlarge the target as if you had cast enlarge 
reduce , If the target can't be affected by that spe I, 
or if you didn't target a creature, you become the 
target. 


CHAPTER 7 ! fREASliR£ 


Wand of the War Mage, + 1 , + 2 , or +3 

Wand. uncommon (+l) r rare (+2), or very rare (+3) 
(requires attunement by a spe I toaster) 

While holding this wand, you gain a bonus to spell 
attack rolls determined by the wand’s rarity. In addition, 
you ignore half cover when maki ng a spell attack. 

Wand of Web 

Wand, uncommon (requires attunement by a spell caster) 

This wand has 7 charges. While holding it, you can use 
an action to expend 1 of its charges to cast the web spell 
(save DC 15) from it. 

The wand regains 1d6 + 1 expended charges daily at 
dawn. If you expend the wand's last charge, roll a d20. 
On a 1, the wand crumbles into ashes and is destroyed. 

Wand of Wonder 

Wand, rare (requires attunement by a speltoaster) 

This wand has 7 charges. While holding it, you can use 
an action to expend 1 of its charges and choose a target 
within 120 feet of you. The target can be a creature, an 
object, or a point in space. Roll dlOQ and consult the 
following table to discover what happens. 

If the effect causes you to cast a spell from the wand, 
the spell’s save DC is 15. If the spell normally has a 
range expressed in feet, its range becomes 120 feel if it 
isn't already. 

If an effect covers an area, you must center the spell 
on and include the target. If an effect has multiple 
possible subjects, the DM randomly determines which 
ones are affected. 

The wand regains ld6 + 1 expended charges daily at 
dawn. If you expend the wand’s last charge, roll a d2G. 
On a 1, the wand crumbles into dust and is destroyed. 








dlOO Effect 

54-58 You cast darkness. 

59-62 Crass grows on the grounc n a 60-Foot radius 
centered on the target. If grass is already there, 
it grows to ten times its norma' size and remains 
overgrown for 1 minute.. 

63-65 An object of the DM’s choice disappears into the 
Ethereal Plane. The object must be neither worn 
nor carried, within 120 feet of the target, and no 
larger than 10 feet in any dimension. 

66-69 You shrink yourself as if you had cast enlarge/ 
reduce on yourself 
70-79 You castfirebatL 
S0-S4 You cast invisibility on yourself 
85-87 Leaves grow from the target. If you chose a point in 
space as the target, leaves sprout from the creature 
nearest to that point. Unless they are picked off, 
the leaves turn brown and fall off after 24 hours. 
£8-90 A stream; of ld4 x 10 gems, each worth 1 gp, 

shoots from the wand's tip in a line 30 feet long 
and 5 feet wide. Each gem deals 1 bludgeoning 
damage, and the total damage of the gems is 
divided equally among all creatures in the line. 
91-95 A burst of colorful shimmering light extends from 
you in a 30-foot radius. You and each creature in 


Weapon, +1, +2, or +3 

Weapon (any), uncommon (+1) rare (+2), or very rare (+3) 

You have a bonus to attack and damage rolls made with 
ibis magic weapon. The bonus is determined by the 
weapon's rarity. 

Weapon of Warning 

Weapon (any), uncommon (requires attunement) 

This magic weapon warns you of danger. While 
the weapon is on your person, you have advantage 
on initiative rolls. In addition, you and any of your 
companions within 30 feet of you can t be surprised, 
except when incapacitated by something other than 
non magical sleep. The weapon magically awakens you 
and your companions within range if any of you are 
sleeping naturally when combat begins. 

Well of Many Worlds 
Wondrous item , hgen da ry 

This line black cloth, soft as silk, is folded up to the 
dimensions of a handkerchief It unfolds into a circular 
sheet 6 feet in diameter. 

You can use an action to unfold and place the well of 
many worlds on a solid surface* whereupon it creates a 
two-way portal to another world or plane of existence. 
Bach time the item opens a portal, the DM decides 
where it leads. You can use an action to close an open 





Tq 


DE 


NT 


OF 


N 


96-97 


98-00 


the area that can see must succeed on a DC 15 
Constitution saving throw or become blinded for 
1 minute. A creature can repeat the saving throw 
at the end of each of its turns, ending the effect on 
itself on a success. 

The target's skin turns bright blue for IdlO days. If 
you chose a point in space, the creature nearest to 
that point is affected, 

if you targeted a creature, it must make a DC 15 
Constitution saving throw. If you didn't target a 
creature, you become the target and must make 
the saving throw. If the saving throw fails by 5 or 
more, the target is instantly petrified. On any other 
failed save,, the target is restrained and begins to 
turn to stone. While restrained in this way, the 
target must repeat the saving throw at the end of 
its next turn, becoming petrified on a failure or 
ending the effect on a success. The petrification 
lasts until the target is freed by the greater 
restoration spell or similar magic. 


portal by taking hold of the edges of the cloth and 
folding it up. Once well of many worlds has opened a 
portal, it can t do so again for IdB hours. 


Wind Fan 

Wondrous item , uncommon 

While holding this fan. you can use an action to cast the 
gust of wind spell (save DC 13) from it. Once used, the 
fan shouldn't be used again until the next dawn. Each 
time it is used again before then* it has a cumulative 20 
percent chance of not working and tearing into useless, 
non magical tatters. 




- <*- 

V 




CHAPTER 7 I TREASURE 















Winged Boots 


Wings op Flying 


Winged Boots 

Wondrous item, uncommon (requires attunement) 


While you wear these boots* you have a flying speed 
equal to your walking speed. You can use the boots to 
fly for up to 4 hours, all at once or in several shorter 
flights, each one using a minimum of 1 minute from the 
duration. If you are flying when the duration expires, you 
descend at a rate of 30 feet per round until you land. 

The boots regain 2 hours of flying capability for every 
12 hours they aren’t in use. 


Wings of Flying 

Wondrous item „ rare (requires attunement) 

While wearing this cloak, you can use an action to 
speak its command word, Thish turns the cloak into a 
pair of bat wings or bird wings on your back for 1 hour 
or until you repeat the command word as an action. 

The wings give you a flying speed of 60 feet. When they 
disappear, you can't use them again for Id 12 hours. 


Sentient Magic Items 

Some magic items possess sentience and personality. 
Such an item might be possessed, haunted by the spir : 
of a previous owner, or self-aware thanks to the magi 
used to create it. In any case, the item behaves like a 
character, complete with personality quirks, ideals, 
bonds, and sometimes flaws, A sentient item might 
be a cherished ally to its wielder or a continual thorn 
in the side. 

Most sentient items are weapons. Other kinds of iter^n 
can manifest sentience, but consumable items such a- 
potions and scrolls are never sentient. 

Sentient magic items function as NPCs under the 
DMs control. Any activated property of the item is 
under the item’s control, not its wielders. As long' as 
the wielder maintains a good relationship with the 
item, the wielder can access those properties normal 1>. 

If the relationship is strained, the item can suppress 
its activated properties or even turn them against 
the wielder. 

Creating Sentient Magic Items 

When you decide to make a magic item sentient, you 
create the item’s persona in the same way you would 
create an NPC, with a few exceptions described here. 

Abilities 

A sentient magic item has Intelligence, Wisdom, and 
Charisma scores. You can choose the item's abilities 
or determine them randomly. To determine them 
randomly, roll 4d6 for each one, dropping the lowest roO 
and totaling the rest. 

Communication 

A sentient item has some ability to communicate* eithc _ 
by sharing its emotions, broadcasting its thoughts 
telepathieslly* or speaking aloud. You can choose how 
communicates or roll on the following table. 

i 

d 100 Co m m u n i cat to n 

01-60 The item communicates by transmitting emotion 
to the creature carrying or wielding it. 

61-90 The Item can speak, read, and understand one or 
more languages, 

91-00 The item can speak, read, and understand one 
or more languages. In addition, the item can 
communicate telepathicaNy with any character thai 
carries or wields it. 

Senses 

With sentience comes awareness. A sentient item can 
perceive its surroundings out to a limited range. You car. 
choose its senses or roll on the following table, 

d4 Senses 

1 Hearing and normal vision out to 30 feet, 

2 Hearing and normal vision out to 60 feet 

3 Hearing and normal vision out to 120 feet. 

4 Hearing and dark vision out to 120 feet. 


CHAPTER 7 1 TREASURE 













































Alignment 

A sentient magic Item has an alignment. Its creator or 
nature might suggest an alignment. If not, you can pick 
an alignment or roll on the following table. 


dlOO 

Alignment 

dfOO 

Alignment 

01-15 

lawful good 

74-85 

Chaotic neutral 

16-35 

Neutral good 

86-89 

Lawful evil 

36 —50 

Chaotic good 

90-96 

Neutral evil 

31-63 

64-73 

Lawful neutral 

Neutral 

97-00 

Chaotic evil 


Characteristics 

Use the information on creating NPCs in chapter 4 
to develop a sentient item s mannerisms, personality 
traits, ideals, bonds, and flaws. You can also draw on the 
"Special Features” section earlier in this chapter. 

If you determine these characteristics randomly, 
ignore or adapt any result that doesn't make sense 
for an inanimate object. You can reroll until you get a 
result you like. 

Special Purpose 

You can give a sentient item an objective it pursues, 
perhaps to the exclusion of all else. As tong as the 
wielder’s use of the item aligns with that special 
purpose, the item remains cooperative. Deviating from 
this course might cause conflict between the wielder 
and the item, and could even cause the item to prevent 
the use of its activated properties. You can pick a special 
purpose or roll on the following table. 

dlO Purpose 

1 Aligned: The item seeks to defeat or destroy those 
of a diametrically opposed alignment. (Such an 
item is never neutral.) 

2 Bane: The item seeks to defeat or destroy creatures 
of a particular kind, such as fiends, shapechangers, 
trolls, or wizards. 

3 Protector: The item seeks to defend a particular 
race or kind of creature, such as elves or druids. 

4 Crusader: The item seeks to defeat, weaken, or 
destroy the servants of a particular deity, 

5 Templar: The item seeks to defend the servants 
and interests of a particular deity. 

6 Destroyer: The Item craves destruction and goads 
its user to fight arbitrarily. 

7 Glory Seeker: The item seeks renown as the 
greatest magic item in the world, by establishing 
its user as a famous or notorious figure, 

3 Lore Seeker: The item craves knowledge or is 

determined to solve a mystery, learn a secret, or 
unravel a cryptic prophecy. 

9 Destiny Seeker: The item is convinced that it and its 
wielder have key roles to play in future events. 

10 Creator Seeker: The item seeks its creator and 
wants to understand why it was created. 


Conflict 

A sentient item has a will of its own, shaped by its 
personality and alignment. If its wielder acts in a 
manner opposed to the item's alignment or purpose, 
conflict can arise. When such a conflict occurs, the item 
makes a Charisma check contested by the wielder's 
Charisma check. If the item wins the contest, it makes 
one or more of the following demands; 

* The item insists on being carried or worn at all time^ 

* The item demands that its wielder dispose of anyth ir .. 
the item finds repugnant. 

+ The item demands that its wielder pursue the item s 
goals to the exclusion of all other goals. 

* The item demands to be given to someone else. 

If its wielder refuses to comply with the item's wishes 
the item can do any or all of the following: 

* Make it impossible for its wielder to attune to it. 

- Suppress one or more of its activated properties. 

* Attempt to take control of its wielder. 

If a sentient item attempts to take control of its 
wielder, the wielder must make a Charisma saving 
throw, with a DC equal to 12 + the item’s Charisma 
modifier. On a failed save, the wielder is charmed by :~ 
item for Id 12 hours. While charmed, the wielder mus 
try to follow' the item’s commands. If the wielder taker 
damage, it can repeat the saving throw, ending the effe r 
on a success. Whether the attempt to control its user 
succeeds or fails, the item can t use this power again 
until the next dawn. 

Sample Sentient Items _ 

The sentient weapons described here have storied 
histories. 

Blackrazor 

Weapon (greatsword). legendary (requires attunemen: 
by a creature of non-lawfuI alignment) 

Hidden in the dungeon of White Plume Mountain, 
Blackrazor shines like a piece of night sky filled with 
stars. Its black scabbard is decorated with pieces of 
cut obsidian. 

You gain a +3 bonus to attack and damage rolls made 
with this magic weapon. It has the following addition;, 
properties. 

Devour SotiL Whenever you use it to reduce a 
creature to 0 hit points, the sword slays the creature an: 
devours its soul, unless it is a construct or an undead. 1 
creature whose soul has been devoured by Blackrazor 
can be restored to life only by a wish spell, 

W hen it devours a soul, Blackrazor grants you 
temporary hit points equal to the slain creature's hit 
point maximum. These hit points fade after 24 hours. 
As long as these temporary hit points last and you keep 
Blackrazor in hand, you have advantage on attack rolK 
saving throws, and ability checks. 

If you hit an undead with this weapon, you take Idle 
necrotic damage and the target regains IdlO hit poini' 

If this necrotic damage reduces you to 0 hit points, 
Blackrazor devours your soul. 


chapter ? 


treasure 












Soul Hunter.. W hile you 1 1 o Id i h: \ e a r on * yo it a re 
aware of the presence of Tiny or larger creatures within 
60 feet of you that aren't constructs >r undead. You also 
can't be charmed or frightened, 

Blackrazor can cast the haste spell on you once per 
day* It decides when to cast the spell and maintains 
oncentration on it so that you don't have to. 

Sentience . Blackrazor is a sentient chaotic neutral 
weapon with an Intelligence of 17, a Wisdom of 10, and 
a Charisma of 19. It has hearing and darkvtsion out to a 
range of 120 feet. 

The weapon can speak, read, and understand 
Common, and can communicate with its wielder 
.elepathically* Its voice is deep and echoing. While you 
ire attuned to it Blackrazor also understands every 
language you know. 

Personality. Black razor spea ks with an imperious 
:one t as though accustomed to being obeyed. 

The sword’s purpose is to consume souls. It doesn't 
are whose souls it eats* including the wielders. The 
sword believes that all matter and energy sprang from 
void of negative energy and will one day return to it. 
Blackrazor is meant to hurry that process along. 

Despite its nihilism, Blackrazor feels a strange 
kinship to Wave and Whelm, two other weapons locked 
away under White Plume Mountain, It wants the three 
weapons to be united again and wielded together in 
combat, even though it violently disagrees with Whelm 
and finds Wave tedious. 

Blackrazor s hunger for souls must be regularly fed. If 
:he sword goes three days or more without consuming 
c soul, a confl ict between it and its wielder occurs at the 
next sunset. 

Moonblade 

\ 1 capon (longsword). legendary (requires allurement by 
an elf or half-elf of neutral good alignment) 

Jf all the magic items created by the elves, one of the 
most prized and jealously guarded is a moonblade. In 
ancient times* nearly all elven noble houses claimed one 
such blade. Over the centuries, some blades have faded 
from the world, their magic lost as family lines have 
become extinct. Other blades have vanished with their 
bearers during great quests. Thus, only a few of these 
weapons remain, 

A moonblade passes down from parent to child. The 
sword chooses its bearer and remains bonded to that 
person for life. If the bearer dies, another heir can 
claim the blade. If no worthy heir exists, the sword lies 
dormant. It functions like a normal lotigsword until a 
worthy soul finds it and lays claim to its power, 

A moonblade serves only one master at a time. The 
artunement process requires a special ritual in the 
:krone room of an elven regent or in a temple dedicated 
lo the elven gods. 

A moonblade won t serve anyone it regards as 
craven, erratic, corrupt, or at odds with preserving and 
protecting elvenkind. If the blade rejects you, you make 
ability checks, attack rolls, and saving throws with 
disadvantage for 24 hours* If the blade accepts you, you 
become attuned to it and a new rune appears on the 


blade. You remain attuned to the weapon until you die or 
the weapon is destroyed. 

V moonblade has one rune on its blade for each 
master it has served (typically ld6 + 1). The first rune 
always grants a +1 bonus to attack and damage rolls 
made with this magic weapon. Each rune beyond the 
first grants the moonblade an additional property. The 
DM chooses each property or determines it randomly on 
the Moon Blade Properties table. 

Moonblade Properties 

dlOO Property 

01-40 Increase the bonus to attack and damage rolls by 
1, to a maximum of+3. Reroll if the moonblade 
already has a +3 bonus. 

41 -SO The moonblade gains a randomly determined 

minor property (see “Special Features” earlier in 
this chapter), 

31-82 The moonblade gains the finesse property. 

83-84 The moonblade gains the thrown property (range 
20/60 feet). 

85-86 The moonblade functions as a defender 

87-90 The moonblade scores a critical hit on a roll of 19 
or 20. 

91-92 When you hit with an attack using the moonblade, 
the attack an extra ld6 slashing damage. 

93-94 When you hit a creature of a specific type (such as 
dragon, fiend, or undead) with the moonblade, the 
target takes an extra ld6 damage of one of these 
types: acid, cold, fire, lightning, or thunder* 

95-96 You can use a bonus action to cause the moonblade 
to flash brightly. Each creature that can see you and 
is within 30 feet of you must succeed on a DC 15 
Constitution saving throw or become blinded for 
1 minute. A creature can repeat the saving throw 
at the end of each of its turns, ending the effect 
on itself on a success. This property can’t be used 
again until you take a short rest while attuned to 
the weapon. 

97-98 The moonblade functions as a ring of spell storing ; 

99 You can use an action to call forth an elfshadow, 
provided that you don't already have one serving 
you. The elfshadow appears in an unoccupied 
space within 120 feet of you. It uses the statistics 
for a shadow from the Monster Manual, except it 
is neutral, immune to effects that turn undead, 
and doesn't create new shadows. You control 
this creature, deciding how it acts and moves. It 
remains until it drops to 0 hit points or you dismiss 
it as an action. 

00 The moonblade functions as a vorpaf si word. 

Sentience * A moonblade is a sentient neutral good 
weapon with an Intelligence of 12, a Wisdom of 10, and 
a Charisma of 12, It has hearing and dark vision out to a 
range of 120 feet. 

The weapon communicates by transmitting emotions* 
sending a tingling sensation through the wielder’s hand 


C H A FT E R 7 1 TREAM T R l 


when it wants to communicate something it has sensed. 
It can communicate more explicitly, through visions or 
dreams, when the wielder is either in a trance or asleep. 

Personality. Every moonblade seeks the advancement 
of elvenkind and elven ideals. Courage, loyalty, beauty, 
music, and life are all part of this purpose. 

The weapon is bonded to the family line it is meant to 
serve. Once it has bonded with an owner who shares its 
ideals, its loyalty is absolute. 

If a moonblade has a flaw, it is overconfidence. Once 
it has decided on an owner, it believes that only that 
person should wield it. even if the owner falls short of 
elven ideals. 

Wave 

Weapon (trident), legendary (requires attunement by a 
creature that worships a god of the sea) 

Held in the dungeon of White Plume Mountain, this 
trident is an exquisite weapon engraved with images 
of waves, shells, and sea creatures. Although you must 
worship a god of the sea to attune to this weapon. Wave 
happily accepts new converts. 

You gain a +3 bonus to attack and damage rolls made 
with this magic weapon. If you score a critical hit with it, 
the target takes extra necrotic damage equal to half its 
hit point maximum. 

The weapon also functions as a trident of fish 
command and a weapon of warning. It can confer the 
benefit of a cap of water breathing while you hold it. and 
you can use it as a cube of force by choosing the effect, 
instead of pressing cube sides to select it. 

Sentience. Wave is a sentient weapon of neutral 
alignment, with an Intelligence of 14. a Wisdom of 10, 
and a Charisma of 18. It has hearing and darkvision out 
to a range of 120 feet. 

The weapon communicates telepathically with its 
wielder and can speak, read, and understand Aquan. It 
can also speak with aquatic animals as if using a speak 
with animals spell, using telepathy to involve its wielder 
in the conversation. 

Personality. When it grows restless, Wave has a habit 
of humming tunes that vary from sea chanteys to sacred 
hymns of the sea gods. 

Wave zealously desires to convert mortals to the 
worship of one or more sea gods, or else to consign the 
faithless to death. Conflict arises if the wielder fails to 
further the weapons objectives in the world. 

The trident has a nostalgic attachment to the 
place where it was forged, a desolate island called 
Thunderforge. A sea god imprisoned a family of storm 
giants there, and the giants forged Wave in an act of 
devotion to—or rebellion against—that god. 

Wave harbors a secret doubt about its own nature and 
purpose. For all its devotion to the sea gods, Wave fears 
that it was intended to bring about a particular sea god’s 
demise. This destiny is something Wave might not be 
able to avert. 


Whelm 

Weapon (warhammer), legendary (requires attunement 
by a dwarf) 

Whelm is a powerful warhammer forged by dwarves 
and lost in the dungeon of White Plume Mountain. 

You gain a +3 bonus to attack and damage rolls 
made with this magic weapon. At dawn the day after 
you first make an attack roll with Whelm , you develop 
a fear of being outdoors that persists as long as you 
remain attuned to the weapon. This causes you to have 
disadvantage on attack rolls, saving throws, and ability 
checks while you can see the daytime sky. 

Thrown Weapon. Whelm has the thrown property, 
with a normal range of 20 feet and a long range of 60 
feet. When you hit with a ranged weapon attack using 
it, the target takes an extra ld8 bludgeoning damage, or 
an extra 2d8 bludgeoning damage if the target is a gian: 
Each time you throw the weapon, it flies back to your 
hand after the attack. If you don’t have a hand free, the 
weapon lands at your feet. 

Shock Wave. You can use an action to strike the 
ground with Whelm and send a shock wave out from 
the point of impact. Each creature of your choice on the 
ground within 60 feet of that point must succeed on a 
DC 15 Constitution saving throw or become stunned for 
1 minute. A creature can repeat the saving throw at the 
end of each of its turns, ending the effect on itself on a 
success. Once used, this property can’t be used again 
until the next dawn. 

Supernatural Awareness. While you are holding 
the weapon, it alerts you to the location of any secret or 
concealed doors within 30 feet of you. In addition, you 
can use an action to cast detect evil and good or locate 
object from the weapon. Once you cast either spell, you 
can’t cast it from the weapon again until the next dawn. 

Sentience. Whelm is a sentient lawful neutral weapon 
with an Intelligence of 15, a Wisdom of 12, and a 
Charisma of 15. It has hearing and darkvision out to a 
range of 120 feet. 

The weapon communicates telepathically with its 
wielder and can speak, read, and understand Dwarvish. 
Giant, and Goblin. It shouts battle cries in Dwarvish 
when used in combat. 

Personality. Whelm' s purpose is to slaughter giants 
and goblinoids. It also seeks to protect dwarves against 
all enemies. Conflict arises if the wielder fails to destroy 
goblins and giants or to protect dwarves. 

Whelm has ties to the dwarf clan that created it, 
variously called the Dankil or the Mightyhammer clan. 

It longs to be returned to that clan. It would do anything 
to protect those dwarves from harm. 

The hammer also carries a secret shame. Centuries 
ago, a dwarf named Ctenmiir wielded it valiantly for 
a time. But Ctenmiir was turned into a vampire. His 
will was strong enough that he bent Whelm to his evil 
purposes, even killing members of his own clan. 


CHAPTER 7 | TREASURE 












Artifacts 

An artifact is a unique magic item of tremendous power, 
with its own origin and history. An artifact might have 
been created by gods or mortals of awesome power. 

It could have been created in the midst of a crisis that 
threatened a kingdom, a world, or the entire multiverse. 
and carry the weight of that pivotal moment in history. 

Some artifacts appear when they are needed most. 
For others, the reverse is true; when discovered, the 
world trembles at the ramifications of the find. In either 
case, introducing an artifact into a campaign requires 
forethought. The artifact could be an item that opposing 
sides are hoping to claim, or it might be something the 
adventurers need to overcome their greatest challenge. 

Characters don’t typically find artifacts in the 
normal course of adventuring. In fact, artifacts only 
appear when you want them to, for they are as much 
plot devices as magic items. Tracking down and 
recovering an artifact is often the main goal of an 
adventure. Characters must chase down rumors. 


undergo significant trials, and venture into dangerous, 
half-forgotten places to find the artifact they seek. 
Alternatively, a major villain might already have the 
artifact. Obtaining and destroying the artifact could 
be the only way to ensure that its power can’t be 
used for evil. 

Artifact Properties 

Each artifact has its own magical properties, as 
other magic items do. and the properties are often 
exceptionally powerful. An artifact might have other 
properties that are either beneficial or detrimental. 

You can choose such properties from the tables in 
this section or determine them randomly. You can 
also invent new beneficial and detrimental properties. 
These properties typically change each time an artifact 
appears in the world. 

An artifact can have as many as four minor beneficial 
properties and two major beneficial properties. It can 
have as many as four minor detrimental properties and 
two major detrimental properties. 


Minor Beneficial Properties 

dlOO Property 

01-20 While attuned to the artifact, you gain proficiency 
in one skill of the DM’s choice. 

While attuned to the artifact, you are immune to 
disease. 

While attuned to the artifact, you can’t be charmed 
or frightened. 

While attuned to the artifact, you have resistance 
against one damage type of the DM’s choice. 

While attuned to the artifact, you can use an action 
to cast one cantrip (chosen by the DM) from it. 
While attuned to the artifact, you can use an action 
to cast one lst-level spell (chosen by the DM) from 
it. After you cast the spell, roll a d6. On a roll of 
1-5, you can’t cast it again until the next dawn. 
71-80 As 61-70 above, except the spell is 2nd level. 

81-90 As 61-70 above, except the spell is 3rd level. 

91-00 While attuned to the artifact, you gain a +1 bonus 
to Armor Class. 




ii?; 


Major 

dlOO 

01-20 


21-30 


31-40 


41-50 


51-60 


61-70 

71-80 

81-90 

91-00 






Beneficial Properties 

Property 

While attuned to the artifact, one of your ability 
scores (DM’s choice) increases by 2, to a 
maximum of 24. 

While attuned to the artifact, you regain ld6 hit 
points at the start of your turn if you have at least 
1 hit point. 

When you hit with a weapon attack while attuned 
to the artifact, the target takes an extra ld6 
damage of the weapon’s type. 

While attuned to the artifact, your walking speed 
increases by 10 feet. 

While attuned to the artifact, you can use an action 
to cast one 4th-!evel spell (chosen by the DM) from 
it. After you cast the spell, roll a d6. On a roll of 
1-5, you can’t cast it again until the next dawn. 

As 51-60 above, except the spell is 5th level. 

As 51-60 above, except the spell is 6th level. 

As 51-60 above, except the spell is 7th level. 

While attuned to the artifact, you can’t be blinded, 
deafened, petrified, or stunned. 






V* 








Minor Detrimental Properties 


d 100 Property 

01 -05 While attuned to the artifact, you have 

disadvantage on saving throws against spells, 
06-10 The first time you touch a gem or piece of jewelry 
while attuned to this artifact, the value of the gem 
or jewelry is reduced by half, 

11-15 While attuned to the artifact, you a re b I i nded when 
you are more than 10 feet away from it. 

16-20 While attuned to the artifact, you have 

disadvantage on saving throws against poison, 
21-30 While attuned to the artifact, you emit a sour 
stench noticeable from up to 10 feet away, 

31-35 While attuned to the artifact, all holy water within 
10 feet of you is destroyed, 

36-40 While attuned to the artifact, you are physically 
it! and have disadvantage on any ability check or 
saving throw that uses Strength or Constitution, 
41-45 While attuned to the artifact, your weight increases 
by l d4 x 10 pounds, 

46-50 While attuned to the artifact, your appearance 
changes as the DM decides, 

51-55 While attuned to the artifact, you are deafened 
when you are more than 10 feet away from it, 

56-60 While attuned to the artifact, your weight drops by 
1d4 x 5 pounds. 

61-65 While attuned to the artifact, you can't smell, 

66-70 While attuned to the artifact, nonmagical flames 
are extinguished within 30 feet of you. 

71 —SO While you are attuned to the artifact, other 

creatures can't take short or long rests while within 
300 feet of you. 

81-85 While attuned to the artifact, you deal ld6 necrotic 
damage to any plant you touch that isn't a creature, 
S6-90 While you are attuned to the artifact, animals 
within 30 feet of you are hostile toward you, 

91-95 While attuned to the artifact, you must eat and 
drink six times the normal amount each day. 

96-00 While you are attuned to the artifact, your flaw is 
amplified in a way determined by the DM. 


Major Detrimental Properties 

dl 00 Property 

01-05 While you are attuned to the artifact, your body 
rots over the course of four days, after which the 
rotting stops. You lose your hair by the end of day 
1, finger tips and toe tips by the end of day 2, lips 
and nose by the end of day 3, and ears by the end 
of day 4. A regenerate spell restores lost body pans 

06-10 While you are attuned to the artifact, you 

determine your alignment daily at dawn by rolling 
a d6 twice. On the first roll, a 1-2 indicates lawfu 
3-4 neutral, and 5-6 chaotic. On the second roll. ^ 
1-2 indicates good, 3-4 neutral, and 5-6 evil. 

11-15 When you first attune to the artifact, it gives you a 
quest determined by the DM. You must complete 
this quest as if affected by the geas spell. Once yo 
complete the quest, you are no longer affected b> 
this property, 

16-20 The artifact houses a bodiless Ire force that is 
hostile toward you. Each time you use an action 
to use one of the artifact’s properties, there is a 
50 percent chance that the life force tries to leave 
the artifact and enter your body. If you fail a DC 
20 Charisma saving throw, it succeeds, and you 
become an NPC under the DM's control until the 
intruding life force is banished using magic such 
the dispel evil and good spell, 

21-25 Creatures with a challenge rating of 0, as well as 
plants that aren’t creatures, drop to 0 hit points 
when within 10 feet of the artifact. 

26-30 The artifact : mprisons a death slaad (see the 

Monster Manual ), Each time you use one of the 
artifact's properties as an action, the slaad has 
a 10 percent chance of escaping, whereupon it 
appears within 15 feet of you and attacks you. 

31-35 While you are attuned to the artifact, creatures of i 
particular type other than humanoid (as chosen b\ 
the DM) are always hostile toward you, 

36-40 The artifact dilutes magic potions within 10 feet o r 
it, rendering them nonmagical, 

41-45 The artifact erases magic scrolls within 10 feet of 
it, rendering them nonmagical, 

46-50 Before using one of the artifact’s properties as 
an action, you must use a bonus action to draw 
blood, either from yourself or from a willing or 
incapacitated creature within your reach, using a 
piercing or slashing melee weapon. The subject 
takes ld4 damage of the appropriate type. 

51-60 When you become attuned to the artifact, you 

gain a form of long-term madness (see chapter 8. 
“Running the Game"). 

61 — 65 You take 4dl0 psychic damage when you become 
attuned to the artifact, 

66-70 You take Sdl0 psychic damage when you become 
attuned to the artifact, 

71-75 Before you can become attuned to the artifact, you 
must kill a creature of your alignment. 


CHAPTER 7 i TREASURE 















dlOO Property 

76-80 When you become attires :: :-.e an '"act, one 
of your ability scores s 'ec..: : I a: random!. 

A greater restoration sps restore? :ieabii tv to 
normal. 

SI-85 Each time you become attuned to ve artifact. 

you age 3d1G years. You must succeed on a DC 10 
Constitution saving throw or die from the shock, [f 
you die, you are instantly transformed into a wight 
(see the Monster Manual) under the DM’s control 
that ts sworn to protect the artifact. 

86-90 While attuned to the artifact, you lose the ability to 
speak. 

91-95 While attuned to the artifact, you have vulnerability 
to ail damage. 

96-00 When you become attuned to the artifact, there is 
a 10 percent chance that you attract the attention 
of a god that sends an avatar to wrest the artifact 
from you. The avatar has the same alignment as its 
creator and the statistics of an empyrean (see the 
Monster Manual). Once it obtains the artifact, the 
avatar vanishes. 

Destroying Artifacts _ 

An artifact must be destroyed in some special way. 
Otherwise, it is impervious to damage. 

Each artifact has a weakness by which its creation 
can be undone. Learning this weakness might require 
extensive research or the successful completion of a 
quest. The DM decides how a particular artifact can be 
destroyed. Some suggestions are provided here; 

- The artifact must be melted down in the volcano, 
forge, or crucible in which it was created, 

■ The artifact must he dropped into the River Styx. 

- The artifact must be swallowed and digested by the 
tarrasque or some other ancient creature, 

- The artifact must be bathed in the blood of a god 
or an angel 

- The artifact must be struck and shattered by a special 
weapon crafted for that purpose, 

■ The artifact must be pulverized between the titanic 
gears of Mechanus. 

■ The artifact must be returned to its creator, who can 
destroy it by touch. 

Sample Artifacts _ 

The artifacts presented here have appeared in one or 
more of D&D worlds. Use them as guides when creating 
your own artifacts, or modify them as you see fit. 

Axe of the Dwarvish Lords 
\ 1 capon (battieaxe), artifact (requires attunement) 

Seeing the peril his people faced, a young dwarf prince 
nme to believe that his people needed something to 
unite them. Thus, he set out to forge a weapon that 
would be such a symbol 

Venturing deep under the mountains, deeper than 
any dwarf had ever delved, the young prince came to 


the blazing heart of a great volcano. With the aid of 
Moradin* the dwarven god of creation, he first crafted 
four great tools; the Brutal Pick , the Earth heart Forge, 
the Anvil of Songs, and the Shaping Hammer With 
them, he forged the Axe of the Dwarvish Lords. 

Armed with the artifact, the prince returned to the 
dwarf clans and brought peace. His axe ended grudges 
and answered slights. The clans became allies, and 
they threw back their enemies and enjoyed an era 
of prosperity. This young dwarf is remembered as 
the First King. When he became old, he passed the 
weapon, which had become his badge of office, to his 
heir. The rightful inheritors passed the axe on for many 
generations. 

Later, in a dark era marked by treachery and 
wickedness, the axe was lost in a bloody civil war 
fomented by greed for its power and the status it 
bestowed. Centuries later, the dwarves still search for 
the axe, and many adventurers have made careers of 
chasing after rumors and plundering old vaults to find it. 

Magic Weapon . The Axe of the Dwarvish Lords is 
a magic weapon that grants a +3 bonus to attack and 
damage rolls made with it. The axe also functions as a 
holt of dwarven kind, a dwarven thrower and a sword of 
sharpness , 

Random Properties . The axe has the following 
randomly determined properties: 



Axe or the 
Dwarvish Lords 


* 2 minor beneficial properties 

* 1 major beneficial property 

* 2 minor detrimental properties 






















Blessings ofMoradin ■ If you are a dwarf attuned to 
the axe. you gain the following benefits: 

* You have immunity to poison damage. 

* The range of your darkvision increases by 60 feet, 

* You gain proficiency with artisan s tools related to 

blacksmithing, brewing, and stonemasonry* 

Conjure Earth Elemental . If you are holding the axe, 
you can use your action to cast the conjure elemental 
spell from it, summoning an earth elemental. You can’t 
use this property again until the next dawn. 

Travel the Depths . You can use an action to touch the 
axe to a fixed piece of dwarven stonework and cast the 
teleport spell from the axe. If your intended destination 
is underground, there is no chance of a mishap or 
arriving somewhere unexpected. You can't use this 
property again until 3 days have passed. 

Corse. The axe bears a curse that affects any non¬ 
dwarf that becomes attuned to it. Even if the attlinement 
ends, the curse remains. With each passing day, the 
creature's physical appearance and stature become 
more dwarflike. After seven days, the creature looks like 
a typical dwarf, but the creature neither loses its racial 
traits nor gains the racial traits of a dwarf. The physical 
changes wrought by the axe aren’t considered magical 
in nature (and therefore can t be dispelled), but they can 
be. undone by any effect that removes a curse, such as a 
greater restoration or remove curse spell. 

Destroying the Axe . The only way to destroy the 
axe is to melt it down in the Earth heart Forge , where 
it was created. It must remain in the burning forge for 
fifty years before it finally succumbs to the fire and 
is consumed. 

Book of Exalted Deeds 

Wondrous item , artifact (requires attunement by a 
creature of good alignment) 

The definitive treatise on all that is good in the 
multiverse* the fabled Book of Exalted Deeds figures 
prominently in many religions. Rather than being a 
scripture devoted to a particular faith, the book’s various 
authors filled the pages with their own vision of true 
virtue, providing guidance for defeating evil. 

The Book of Exalted Deeds rarely lingers in one place. 
As soon as the book is read, it vanishes to some other 
corner of the multiverse where its moral guidance can 
bring light to a darkened world. Although attempts 
have been made to copy the work, efforts to do so fail 
to capture its magical nature or translate the benefits it 
offers to those pure of heart and firm of purpose. 

A heavy clasp, wrought to look like angel wings, 
keeps the book’s contents secure. Only a creature of 
good alignment that is attuned to the book can release 
the clasp that holds it shut. Once the book is opened, 
the attuned creature must spend 80 hours reading and 
studying the book to digest its contents and gain its 
benefits. Other creatures that peruse the book's open 
pages can read the text but glean no deeper meaning 
and reap no benefits. An evil creature that tries to read 
from the book takes 24d6 radiant damage. This damage 
ignores resistance and immunity, and can’t be reduced 
or avoided by any means. A creature reduced to 0 hit 


points by this damage disappears in a blinding flash a: 
is destroyed, leaving its possessions behind. 

Benefits granted by the Book of Exalted Deeds Iasi 
only as long as you strive to do good. If you fail to 
perform at least one act of kindness or generosity with 
the span of 10 days, or if you willingly perform an evil 
act, you lose all the benefits granted by the book. 

Random Properties, The Book of Exalted Deeds has 
the following random properties: 

- 2 minor beneficial properties 
« 2 major beneficial properties 

Increased Wisdom * After you spend the requisite 
amount of time reading and studying the book, your 
Wisdom score increases by 2, to a maximum of 24, Y _ 
can't gain this benefit from the book more than once. 

Enlightened Magic. Once you’ve read and studied 
the book, any spell slot you expend to cast a cleric or 
paladin spell counts as a spell slot of one level higher 

Halo. Once you've read and studied the book, you 
gain a protective halo. This halo sheds bright light 
in a 10-foot radius and dim light for an additional 10 
feet. You can dismiss or manifest the halo as a bonus 
action. While present, the halo gives you advantage on 
Charisma (Persuasion) checks made to interact with 
good creatures and Charisma (Intimidation) checks 
made to interact with evil creatures. In addition, fiends 
and undead within the halo’s bright light make attack 
rolls against you with disadvantage. 

Destroying the Book. It is rumored that the Book of 
Exalted Deeds can't be destroyed as long as good exu s 
in the multiverse. However, drowning the book in the 
River Styx removes all writing and imagery from its 
pages and renders the book powerless for Id 100 years. 

Book or Vile Darkness ! 

Wondrous item , artifact (requires attunement) 

The contents of this foul manuscript of ineffable 
wickedness are the meat and drink of those in evil’s 
thrall. No mortal was meant to know the secrets it 
contains, knowledge so horrid that to even glimpse the: 
scrawled pages invites madness. 

Most believe the Hch-god Veen a authored the Book f 
Vile Darkness. He recorded in its pages every diseased 
idea, every unhinged thought, and every example of 
blackest magic he came across or devised. Vecna 
covered every vile topic he could, making the book a 
gruesome catalog of all mortal wrongs. 

Other practitioners of evil have held the book and 
added their own input to its catalog of vile knowledge. 
Their additions are clear, for the writers of later works 
stitched whatever they w ere writing into the tome or. in 
some cases, made notations and additions to existing 
text. There are places where pages are missing, torn, 
or covered so completely with Ink, blood, and scratch 
that the original text can’t be divined. 

Nature can’t abide the book's presence. Ordinary 
plants wither in its presence, animals are unw illing to 
approach it. and the book gradually destroys whatever 
it touches. Even stone racks and turns to powder if i: 
book rests on it long enough. 





Vile Lore 

The Book of Vile Darkness touches on even, evil in the 
cosmos, A character can use the <ore the book contains 
to unearth terrible secrets no mortal sho_ jI d know. Among 
the contents a character might find are the following, plus 
whatever else you choose: 


* Vile Apotheosis. The book could hold a ritual that allows a 
character to become a lich or death knight, 

« True Names. The true names of any number offiends 
might be in the book. 

■ Dark Magic. Several spells of horrific evil of the DM’s 
design and choosing could be in the book. Spells could 
impose dreadful curses, disfigure others, require human 
sacrifice, afflict creatures with crippling pain, spread vile 
plagues, and so on. 


A creature attuned to the book must spend $0 hours 
reading and studying it to digest its contents and reap its 
benefits. The creature can then freely modify the book’s 
contents, provided that those modifications advance evil 
and expand the lore already contained within. 

Whenever a non-evil creature attunes to the Book 
of Vile Darkness , that creature must make a DC 17 
Charisma saving throw. On a failed save, the creature's 
alignment changes to neutral evil. 

The Book of Vile Darkness remains with you only 
as long as you strive to work evil in the world. If you 
fail to perform at least one evil act within the span 
of 10 days, or if you willingly perform a good act, the 
book disappears. If you die while attuned to the book, 
an entity of great evil claims your soul. You can’t be 
restored to life by any means while your soul remains 
imprisoned. 

Random Properties, The Book of Vile Darkness has 
the following random properties: 

* 3 minor beneficial properties 

* 1 major beneficial property 

■ 3 minor detrimental properties 

* 2 major detrimental properties 

Adjusted Ability Scores. After you spend the 
requisite amount of time reading and studying the 
book, one ability score of your choice increases by 2, to 
a maximum of 24. Another ability score of your choice 
decreases by 2, to a minimum of 3. The book can't 
adjust your ability scores again, 

Mark of Darkness, After you spend the requisite 
amount of time reading and studying the book, you 
acquire a physical disfigurement as a hideous sign 
of your devotion to vile darkness. An evil rune might 
appear on your face, your eyes might become glossy 
black, or horns might sprout from your forehead. Or 
you might become wizened and hideous, lose all facial 
features, gain a forked tongue, or some other feature 
the DM chooses. The mark of darkness grants you 
advantage on Charisma (Persuasion) checks made to 
interact with evil creatures and Charisma (Intimidation) 
checks made to interact with non-evil creatures. 

Command Evil, While you are attuned to the book 
and holding it, you can use an action to cast the 
dominate monster spell on an evil target (save DC 18). 
You can’t use this property again until the next dawn. 



Dark Lore - You can reference the Book of Vile 
Darkness whenever you make an Intelligence check 
to recall information about some aspect of evil, such 
as lore about demons. When you do so. double your 
proficiency bonus on that check. 

Dark Speech , While you carry the Book of Vile 
Darkness and are attuned to it, you can use an action 
to recite words from its pages in a foul language known 
as Dark Speech. Each time you do so, you take Id 12 


CHAPTER 7 TREASURE 


233 



















psychic damage, and each non-evil creature within 15 
feet of you takes 3d6 psychic damage. 

Destroying the Book. The Book of \ 7/e Darkness 
allows pages to be torn from it. but any evil lore 
contained on those pages finds its way back into the 
book eventually, usually when a new author adds pages 
to the tome. 

If a solar tears the book in two. the book is destroyed 
for IdlOO years, after which it reforms in some dark 
corner of the multiverse. 

A creature attuned to the book for one hundred 
years can unearth a phrase hidden in the original text 
that, when translated to Celestial and spoken aloud, 
destroys both the speaker and the book in a blinding 
flash of radiance. However as long as evil exists in the 
multiverse, the book reforms ldlO * 100 years later. 

If all evil in the multiverse is wiped out, the book turns 
to dust and is forever destroyed. 

Eye and Hand of Vecna 
Wondrous item , artifact (requires attunement) 

Seldom is the name of Vecna spoken except in a hushed 
voice, Vecna was, in his time, one of the mightiest of all 
wizards. Through dark magic and conquest, he forged a 
terrible empire. For all his power, Vecna couldn’t escape 
his own mortality. He began to fear death and take steps 
to prevent his end from ever coming about. 

Orcus, the demon prince of undcath, taught Vecna a 
ritual that would allow him to live on as a lich, Beyond 
death, he became the greatest of all liches, Even 
though his body gradually withered and decayed. Vecna 
continued to expand his evil dominion. So formidable 
and hideous was his temper that his subjects feared to 
speak his name. He was the Whispered One, the Master 
of the Spider Throne, the Undying King, and the Lord of 
the Rotted Tower, 

Some say that Vecna’s lieutenant Kas coveted the 
Spider Throne for himself, or that the sword his lord 
made for him seduced him into rebellion. Whatever the 
reason, Kas brought the Undying King's rule to an end 
in a terrible battle that left Vecna’s tower a heap of ash. 
Of Vecna, all that remained were one hand and one eye T 
grisly artifacts that still seek to work the Whispered 
One’s willtn the world. 

The Eye of Vecna and the Hand of Vecna might 
be found together or separately. The eye looks like a 
bloodshot organ torn free from the socket. The hand is a 
mu mm i lied and shriveled left extremity. 

To attune to the eye, you must gouge out your own eye 
and press the artifact into the empty socket. The eye 
grafts itself to your head and remains there until you 
die. Once in place, the eye transforms into a golden eye 
with a slit for a pupil, much like that of a cat. If the eye is 
ever removed, you die. 

To attune to the hand, you must lop off your left 
hand at the wrist and the press the artifact against 
the stump. The hand grafts itself to your arm and 
becomes a functioning appendage. If the hand is es^er 
removed, you die. 

Random Properties, The Eve of Vecna and the Hand 
of Vecna each have the following random properties: 


CHA.PTEH 7 \ TREASURE 


- 1 minor beneficial property 

* 1 major beneficial property 

* 1 minor detrimental property 

Properties of the Eye. Your alignment changes c 
neutral evil, and you gain the following benefits: 

* You have truesight, 

* You can use an action to see as if you w^ere wear I 
a ring of X-ray vision. You can end this effect as a 
bonus action. 

* The eye has 8 charges. You can use an action ar 
expend 1 or more charges to cast one of the foil % 
spells (save DC 18) from it: clairvoyance (2 charg* 
crown of madness (1 charge), disintegrate (4 charge s 
dominate monster ( 5 charges), or eye bite (4 char _ 
The eye regains ld4 + 4 expended charges daily . 
dawn. Each time you cast a spell from the eye, rf. 

is a 5 percent chance that Vecna tears vour soul fr m 
your body, devours it, and then takes control oft 
body like a puppet. If that happens, you become : 
NPC under the DM’s control. 

Properties of the Hand , Your alignment change - to 
neutral evil, and you gain the follow ing benefits: 

* Your Strength score becomes 20, unless it is air ~ 

20 or higher, 1 

* Any melee spell attack you make with the hand, 
any melee weapon attack made with a weapon he! 11 
it. deals an extra 2d8 cold damage on a hit, 

* The hand has 8 charges. You can use an action an _ 
expend 1 or more charges to cast one of the folio 
spells (save DC 18) from it: finger of death (5 charge! 
sleep (1 charge), slow (2 charges), or teleport (3 
charges). The hand regains ld4 + 4 expended chara 
daily at dawn. Each time you cast a spell from the 
hand, it casts the suggestion spell on you (save DC 
18), demanding that you commit an evil act. The 
might have a specific act in mind or leave it up lc« - - 

Properties of the Eye and Hand. If you are attur. d 
to both the hand and eye, you gain the following 
additional benefits: 

- You are immune to disease and poison. 

* Using the eye's X-ray vision never causes you to sum 
exhaustion. 

- You experience premonitions of danger and, unless 
you are incapacitated, can t be surprised. 

* If you start your turn with at least 1 hit point, you 
regain Id 10 hit points, 

- If a creature has a skeleton, you can attempt to tu i 
bones to jelly with a touch of the Hand of Vecna. \ a 
can do so by using an action to make a melee atta 
against a creature you can reach, using your choi 
your melee attack bonus for weapons or spells. Or a 
hit, the target must succeed on a DC 18 Consl.it in 
saving throw or drop to 0 hit points. 

* You can use an action to cast wish. This property ci 
he used again until 30 days have passed. 

Destroying the Eye and Hand * I f the Eye of Vecna 
and the Hand of Vecna are both attached to the san 
creature, and that creature is slain by the Swore/ of 
Kas , both the eye and the hand burst into flame, turr 




While you are charmed by the orb, you can t 
voluntarily end your attunement to it, and the orb casts 
suggestion on you at will (save DC 18), urging you 
to work toward the evil ends it desires. The dragon 
essence within the orb might want many things: the 
annihilation of a particular people, freedom from the 
orb, to spread suffering in the world, to advance the 
worship of Takhisis (Tiamat s name on Krynn), or 
something else the DM decides. 

Random Properties. An Orb of Dragon kind has the 
following random properties: 

• 2 minor beneficial properties 

• 1 minor detrimental property 

• 1 major detrimental property 

Spells. The orb has 7 charges and regains ld4 + 3 
expended charges daily at dawn. If you control the orb, 
you can use an action and expend 1 or more charges 
to cast one of the following spells (save DC 18) from it: 
cure wounds (5th-level version, 3 charges), daylight (1 
charge), death ward (2 charges), or scrying (3 charges). 

You can also use an action to cast the detect magic 
spell from the orb without using any charges. 

Call Dragons. While you control the orb, you can use 
an action to cause the artifact to issue a telepathic call 
that extends in all directions for 40 miles. Evil dragons 
in range feel compelled to come to the orb as soon as 
possible by the most direct route. Dragon deities such 
as Tiamat are unaffected by this call. Dragons drawn to 
the orb might be hostile toward you for compelling them 
against their will. Once you have used this property, it 
can’t be used again for 1 hour. 

Destroying an Orb. An Orb of Dragonkind appears 
fragile but is impervious to most damage, including the 
attacks and breath weapons of dragons. A disintegrate 
spell or one good hit from a +3 magic weapon is 
sufficient to destroy an orb, however. 


to ash, and are destroyed forever. Any other attempt to 
destroy the eye or hand seems to work, but the artifact 
reappears in one of Vecna’s many hidden vaults, where 
it waits to be rediscovered. 

Orb of Dragonkind 

Wondrous item, artifact (requires attunement) 

Ages past, on the world of Krynn, elves and humans 
waged a terrible war against evil dragons. When the 
world seemed doomed, the wizards of the Towers of 
High Sorcery came together and worked their greatest 
magic, forging five Orbs of Dragonkind (or Dragon Orbs) 
zo help them defeat the dragons. One orb was taken 
:o each of the five towers, and there they were used to 
speed the war toward a victorious end. The wizards 
used the orbs to lure dragons to them, then destroyed 
the dragons with powerful magic. 

As the Towers of High Sorcery fell in later ages, the 
•rbs were destroyed or faded into legend, and only three 
ire thought to survive. Their magic has been warped 
and twisted over the centuries, so although their 
primary purpose of calling dragons still functions, they 
also allow some measure of control over dragons. 

Each orb contains the essence of an evil dragon, a 
r resence that resents any attempt to coax magic from 
Those lacking in force of personality might find 
'hemselves enslaved to an orb. 

An orb is an etched crystal globe about 10 inches in 
diameter. When used, it grows to about 20 inches in 
diameter, and mist swirls inside it. 

While attuned to an orb, you can use an action to 
peer into the orb’s depths and speak its command 
word. You must then make a DC 15 Charisma check. 

On a successful check, you control the orb for as long 
you remain attuned to it. On a failed check, you 
come charmed by the orb for as long as you remain 
i tuned to it. 


Orb of Dragonkino 


Eye and Hano 
of Vecna 






CHAPTER 7 I TREASURE 


225 









Sword of Kas 

Wondrous item , artifact (requires attunement) 

When Veen a grew in power* he appointed an evil and 
ruthless lieutenant* Kas the Bloody Handed, to act as 
his bodyguard and right hand. This despicable villain 
served as advisor warlord, and assassin. His successes 
earned him Veen as admiration and a reward: a sword 
with as dark a pedigree as the man who would wield it. 

For a long time* Kas faithfully served the lich, but 
as Kas’s power grew* so did his hubris. His sword 
urged him lo supplant Vecna* so that they could rule 
the Hch's empire in Veen as stead. Legend says Vecna’s 
destruction came at Kas’s hand, but Vecna also wrought 
his rebellious lieutenant s doom, leaving only Kas's 
sword behind. The world was made brighter thereby. 

The Sword of Kas is a magic, sentient longs word that 
grants a +3 bonus to attack and damage rolls made with 
it. Jt scores a critical hit on a roll of 19 or 20. and deals 
an extra 2d 10 slashing damage to undead. 

If the sword isn't bathed in blood within 1 minute of 
being drawn from its scabbard, its wielder must make a 
DC 15 Charisma saving throw. On a successful save, the 
wielder take 3d6 psychic damage. On a failed save, the 
wielder is dominated by the sword, as if by the dominate 
monster spell, and the sword demands that it be 
bathed in blood. The spell effect ends when the sword's 
demand is met. 

Random Properties, The Swore/ of Kas has the 
following random properties: 

* 1 minor beneficial property 

* 1 major beneficial property 

* 1 minor detrimental property 

* 1 major detrimental property 


Wand of Orcus 


CHAPTER 1 I TREASURE 


Spirit of Kas, While the sword is on your person, you 
add a dlO to your initiative at the start of every combat. 

In addition, when you use an action to attack with the 
sword, you can transfer some or all of its attack bonus t: 
your Armor Class instead. The adjusted bonuses remair 
in effect until the start of your next turn. 

Spells . While the sword is on your person, you can 
use an action to cast one of the following spells (save L 
IS) from it: call lightning, divine word , or finger of deal ~ 
Once you use the sword to cast a spell* you can't cast 
that spell again from it until the next dawn. 

Sentience, The Sword of Kas is a sentient chaotic e 
weapon with an intelligence of 15, a Wisdom of 13, an _ 
a Charisma of 16. It has hearing and darkvision out to ^ 1 
range of 120 feet, jH 

The weapon communicates telepathically with its 
wielder and can speak, read, and understand Common* 

Personality . The sword’s purpose is to bring ruin i: 
Vecna. Killing Vecna s worshipers, destroying the lich - 
works, and foiling his machinations all help to fulfill 
this goal. 

The Swore/ of Kas also seeks to destroy anyone 
corrupted by the Bye and Hand of Vecna. The sword's 
obsession with those artifacts eventually becomes a 
fixation for its wielder. 

Destroying the Sword . A creature attuned to both 
the Eye of Vecna and the Hand of Vecna can use the 
wish property of those combined artifacts to unmake 
the Sword of Kas. The creature must cast the wish sp ■ 
and make a Charisma check contested by the Charisr i 
check of the sword. The sword must be within 30 feet 
of the creature, or the spell fails. I f the sword wins th 
contest, nothing happens, and the wish spell is wasted 
If the sword loses the contest, it is destroyed, f 


Sworo of Kas 











Wand of Orcus 

Wand, artifact (requires attunement) 

The ghastly Wand ofOrcus rarely leaves Orcus's side. 
The device, as evil as its creator, shares the demon 
lord s aims to snuff out the lives of all living things and 
bind the Material Plane in the stasis of undeath. Orcus 
allows the wand to slip from his grasp from time to time. 
When il does, it magically appears wherever its master 
senses an opportunity to achieve some fell goal. 

Made from bones as hard as iron, the wand is topped 
with a magically enlarged skull that once belonged to 
a human hero slain by Orcus. The wand can magically 
change in size to better conform to the grip of its user. 
Plants wither, drinks spoil, flesh rots, and vermin thrive 
in the wand s presence. 

Any creature besides Orcus that tries to attune to the 
wand must make a DC 17 Constitution saving throw. 

On a successful save, the creature takes 10d6 necrotic 
damage. On a failed save, the creature dies and rises 
as a zombie. 

In the hands of one who is attuned to it, the wand can 
be wielded as a magic mace that grants a +3 bonus to 
attack and damage rolls made with it. The wand deals 
an extra 2d 12 necrotic damage on a hit. 

Random Properties • The Wand ofOrcus has the 
following random properties: 

* 2 minor beneficial properties 

* l major beneficial property 

* 2 minor detrimental properties 

* 1 major detrimental property 

The detrimental properties of the Wand ofOrcus are 
suppressed while the wand is attuned to Orcus himself. 

Protection. You gain a +3 bonus to Armor Class while 
holding the wand. 

Spells* The wand has 7 charges. While holding it, you 
can use an action and expend 1 or more of its charges 
to cast one of the following spells (save DC IS) from 
it: animate dead (1 charge), blight (2 charges), circle of 
death (3 charges), Unger of death (3 charges), power 
word kill (4 charges), or speak with dead (1 charge). The 
wand regains ld4 + 3 expended charges daily at dawn. 

While attuned to the wand, Orcus or a follower 
blessed by him can cast each of the wand's spells using 
2 fewer charges (minimum of 0), 

Call Undead* Whileyou are holding the wand, you 
can use an action to conjure skeletons and zombies, 
calling forth as many of them as you can divide 500 hit 
points among, each undead having average hit points 
(see the Monster Manual for statistics). The undead 
magically rise up from the ground or otherwise form in 
unoccupied spaces within 300 feet of you and obey your 
commands until they are destroyed or until dawn of 
ihe next day, when they collapse into inanimate piles of 
bones and rotting corpses. Once you use this property 
of the wand, you can t use it again until the next dawn. 

While attuned to the wand, Orcus can summon any 
kind of undead, not just skeletons and zombies. The 
undead don't perish or disappear at dawn the following 
day, remaining until Orcus dismisses them. 

Sentience* The Wand ofOrcus is a sentient, chaotic 
evil item with an Intelligence of 16, a W isdom of 12, and 


a Charisma of 16. It has hearing and darkvision out to a 
range of 120 feet. 

The wand communicates telepat hicaily with its 
wielder and can speak, read, and understand Abyssal 
and Common. 

Personality. The wands purpose is to help satisfy 
Orcus’s desire to slay everything in the multi verse. The 
wand is cold, cruel, nihilistic, and bereft of humor. 

In order to further its masters goals, the wand feigns 
devotion to its current user and makes grandiose 
promises that it has no intention of fulfilling, such as 
vowing to help its user overthrow Orcus. 

Destroying the Wand* Destroying the Wand of Orcus 
requires that it be taken to the Positive Energy Plane by 
the ancient hero whose skull surmounts it. For this to 
happen, the long-lost hero must first be restored to life- 
no easy task, given the fact that Orcus has imprisoned 
the hero's soul and keeps it hidden and well guarded. 

Bathing the wand in positive energy causes it to crack 
and explode, but unless the above conditions are met. the 
wand instantly reforms on Orcus's layer of the Abyss. 

Other Rewards 

As much as adventurers desire treasure, they often 
appreciate other forms of reward. This section 
presents a variety of ways that gods, monarchs, and 
other beings of power might recognize the characters' 
accomplishments, including supernatural gifts that 
give characters new capabilities: titles. Lands, and other 
marks of prestige: and boons that are available only to 
adventurers who have reached 20th level. 

Supernatural Gifts _ 

A supernatural gift is a special reward granted 
by a being or force of great magical power. Such 
supernatural gifts come in two forms: blessings and 
charms. A blessing is usually bestowed by a god or 
a godlike being, A charm is typically the work of a 
powerful spirit, a location of ancient magic, or a creature 
that has legendary actions. Unlike a magic item, a 
supernatural gift isn't an object and doesn’t require 
attunement. It gives a character an extraordinary ability, 
which can be used one or more times. 

Blessings 

A character might receive a blessing from a deity for 
doing something truly momentous—an accomplishment 
that catches the attention of both gods and mortals. 
Killing rampaging gnolls rarely warrants such a 
blessing, but slaying the high priest of Tiamat as he 
attempts to summon the Dragon Queen might. 

A blessing is an appropriate reward for one of the 
following accomplishments: 

* Restoring the most sacred shrine of a god 

* Foiling an earthshaking plot by the enemies of a god 

* Helping a god s favored servant complete a holy quest 

An adventurer might also receive a blessing In 
advance of a perilous quest. For example, a paladin 
couid receive one before setting out on a quest to slay a 
terrifying lich that is responsible for a magical plague 
sweeping the land. 

C H AFT £ R 7 f TR E ASU R E 






A character should receive only a blessing that is 
useful to him or her and some blessings come with 
expectations on the part of the benefactor, A god 
typically gives a blessing for a particular purpose, such 
as recovering a holy persons remains or toppling a 
tyrannical empire. The god might revoke a blessing 
if a character fails to pursue that purpose or acts 
counter to it. 

A character retains the benefits of a blessing forever or 
until it is taken away by the god who granted it. Unlike 
a magic item, such a blessing can’t be suppressed by an 
anti magic field or similar effect. 

Most adventurers go their entire lives without 
receiving even one of these blessings. There is no limit 
on the number of blessings a character can receive, 
but it should be rare for a character to have more than 
one at a time. Moreover, a character can’t benefit from 
multiple instances of a blessing at the same time. For 
example, a character can t benefit from two instances of 
the Blessing of Health at once, 

Example blessings are provided below. The text of a 
blessing addresses its user. If you decide to create more 
blessings, consider this: a typical blessing mimics the 
properties of a wondrous item. 

Blessing of Health, Your Constitution score increases 
by 2, up to a maximum of 22. 

Blessing of Protection, You gain a +1 bonus to AC 
and saving throws. 

Blessing of Magic Resistance. You have advantage on 
saving throws against spells and other magical effects. 

Blessing of Understanding, Your Wisdom score 
increases by 2. up to a maximum of 22. 

Blessing of Valhalla. This blessing grants you the 
power to summon spirit warriors, as if you had blown a 
silver horn of Valhalla. Once you use this blessing, you 
can’t use it again until 7 days have passed. 

Blessing of Weapon Enhancement. One non magical 
weapon in your possession becomes a ~f~1 weapon 
whenever you wield it. 

Blessing of Wound Closure . This blessing grants you 
the benefits of a periapt of wound closure. 

Charms 

A charm is a minor supernatural gift, which can 
be received in a large variety of ways. For example, 
a wizard who finds an eldritch secret in a dead 
arch mage $ spellbook might be infused with the magic 
of a charm, as might a character who solves a sphinx's 
ridd le o r d r i n ks from a m a gi c fou n ta i n. Le gen d ary 
creatures, such as ancient gold dragons and unicorns, 
sometimes grace their allies w ith charms, and some 
explorers find themselves bearing the magic of a charm 
after discovering a long-last location that is drenched in 
primeval magic. 

Some charms can be used only once, and others can 
be used a specific number of times before vanishing. If a 
charm lets you cast a spell, you are able to do so without 
spending a spell slot or providing any components 
(verbal, somatic, or material). In any case, a charm can’t 
be used in the area created by an anti magic held or a 
similar effect, and a charm’s effects are susceptible to 
dispel magic and the like. But the charm itself can't be 


removed from a creature by anything short of divine 
intervention or the wish spell. 

Example charms are provided below. The text of a 
charm addresses its user, A typical charm mimics the 
effects of a potion or a spell, so it is easy to create morei 
charms of you r own. if you like. 

Charm of Animal Conjuring. This charm allows 
you to cast the conjure animals spell (3rd-level version 
as an action. Once used three times, the charm 
vanishes from you. 

Ch arm of Darkvision *' 1 h i s c h a r m a 11 o w s you to 
cast the darkvision spell as an action, no components 
required. Once used three times, the charm goes away 

Charm of Feather Falling. This charm grants you ' £ 
benefits of a ring of feather falling. These benefits las: 
for 10 days, after which the charm vanishes from you. 

Charm of Heroism. This charm allows you to give 
yourself the benefit of a potion of heroism as an action 
Once you do so, the charm vanishes from you. 

Charm of Restoration, f h is c har m h as 6 ch a rge s. 

You can use an action to expend some of its charges 
to cast one of the following spells: greater restoration 
(4 charges) or lesser restoration (2 charges). Once 
all its charges have been expended, the charm 
vanishes from you. 

Charm of the Slayer* One sword in your possession, 
becomes a dragon slayer or giant slayer (DM’s choice 
for the next 9 days. The charm then vanishes from you, 
and the weapon returns to normal. 

Charm of Vitality. This charm allows you to give 
yourself the benefit of a potion of vitality as an action. 
Once you do so, the charm vanishes from you. 

Marks of Prestige _J 

Sometimes the most memorable reward for adventurers 
is the prestige that they acquire throughout a realm. 
Their adventures often earn them fame and power, 
allies and enemies, and titles that they can pass on to 
their descendants. Some lords and ladies began as 
commoners who ventured into the dangerous places of 
the world and made names for themselves through the t 
brave deeds. 

This section details the most common marks of 
prestige that adventures might acquire during a 
campaign. These marks are usually gained along with 
treasure, but sometimes they stand on their own. 

Letters of Recommendation 

When gold is in short supply, the adventurers’ 
benefactor might provide them with a letter of 
recommendation instead of monetary payment. Such a 
letter is usually enclosed in a handsome folio, case, or 
scroll tube for safe transport, and it usually bears the 
signature and seal of whoever WTOte it. 

A letter of recommendation from a person of 
impeccable reputation can grant adventurers access 
to NPCs that they would otherwise have trouble 
meeting on their own. such as a duke, viceroy, or queer. 
Moreover, carrying such a recommendation on one's 
person can help clear up “misunderstandings’ with 
local authorities who might not otherwise take the 
adventurers at their w ord. 


CHAPTER 7 


ERE AS URL 









A letter of recommendation is worth only as much as 
the person who wrote it and offers no benefit in places 
where its writer holds no sway. 

Medals 

Although they are often fashioned from gold and 
other precious materials, medals have an even greater 
symbolic value to those who award and receive them. 

Medals are typically awarded by powerful political 
figures for acts of heroism, and wearing a medal 
is usually enough to earn the respect of those who 
understand its significance. 

Different acts of heroism can warrant different 
kinds of medals. The King of Breland (in the Eberron 
campaign set ting) might award a Royal Badge of Valor 
(shaped like a shield and made of ruby and electrum) 
to adventurers for defending Brelish citizens, while 
the Golden Bear of Breland (a medal made of gold and 
shaped in a likeness of a bear s head, with gems for 
eyes) might be reserved for adventurers w ho prove their 
allegiance to the Brelish Crown by uncovering and 
defeating a plot to end the Treaty of Thronehold and 
reignite the Last War. 

A medal doesn't offer a specific in-game benefit to one 
who wears it, but it can affect dealings with MFCs, For 
example, a character who proudly displays the Golden 
Bear of Breland will be regarded as a hero of the people 
within the kingdom of Breland. Outside Breland, the 
medal carries far less weight, except among allies of 
Breland's king. 

Parcels of Land 

A parcel of land is just that* and usually comes with a 
royal letter affirming that the land has been granted as a 
reward for some service. Such land usually remains the 
property of the local ruler or ruling body, but is leased 
to a character with the understanding that it can be 
taken away, especially if his or her loyalty is ever called 
into question, 

A parcel of land, if sufficiently large, might have one or 
more farms or villages on it already, in which case the 
recipient is pronounced lord or lady of the land and is 
expected to collect taxes, along with any other duties, 

A character who receives a parcel of land is free to 
build on it and is expected to safeguard it. He or she may 
yield the land as part of an inheritance, but can't sell 
or trade it without permission from the local ruler or 
ruling body. 

Parcels of land make fine rewards for adventurers 
who are looking for a place to settle or who have family 
or some kind of personal investment in the region where 
the land is located. 

Special Favors 

A reward might come in the form of a favor that the 
characters can call on at some future date* Special 
favors work best when the individual granting them is 
trustworthy* A lawful good or lawful neutral NPC will 
do whatever can be done to fulfill an obligation when 
the time comes* short of breaking law's* A lawful evil 
NPC does the same, but only because a deal is a deal. 

A neutral good or neutral NPC might pay off favors to 
protect his or her reputation. A chaotic good NPC is 



Letter of Recommenoaton 


CHAPTER 7 ! i'R L A SU R L 


































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V 

more concerned about doing right by the adventurers, 
honoring any obligations without worrying too much 
about personal risk or adherence to the law. 

Special Rights 

A politically powerful person can reward characters by 
giving them special rights, which are usually articulated 
in some sort of official document. For example, 
characters might be granted special rights to carry 
weapons in public places, kill enemies of the crown, or 
negotiate on a duke’s behalf. They might earn the right 
to demand free room and board from any establishment 
within a particular community, or have the right to draft 
local militia to assist them as needed. 

Special rights last only as long as the legal document 
dictates, and such rights can be revoked if the 
adventurers abuse them. 

Strongholds 

A stronghold is a reward usually given to seasoned 
adventurers who demonstrate unwavering fealty to a 
powerful political figure or ruling body, such as a king, 
a knighthood, or a council of wizards. A stronghold 
can be anything from a fortified tower in the heart of 
a city to a provincial keep on the borderlands. While 
the stronghold is for the characters to govern as they 
see fit, the land on which it sits remains the property of 
the crown or local ruler. Should the characters prove 
disloyal or unworthy of the gift, they can be asked or 
forced to relinquish custody of the stronghold. 


As an additional reward, the individual bequeathing 
the stronghold might offer to pay its maintenance costs 
for a period of one or more months, after which the 
characters inherit that responsibility. See chapter 6 for 
more information on stronghold maintenance. 

Titles 

A politically powerful figure has the ability to dispense 
titles. A title often comes with a parcel of land (see 
above). For example, a character might be awarded the 
title Earl of Stormriver or Countess of Dun Fjord, along 
with a parcel of land that includes a settlement or region 
of the same name. 

A character can hold more than one title, and in a 
feudal society, those titles can be passed down to (or 
distributed among) one’s children. While a character 
holds a title, he or she is expected to act in a manner 
befitting that title. By decree, titles can be stripped awa> 
if the local ruler or ruling body has reason to question 
the character s loyalty or competence. 

_W 

Alternatives to Epic Boons 

You might decide to grant one of the following rewards to a 
20th'level character, instead of awarding an epic boon. These 
two options can be awarded to a character more than once. 

Ability Score Improvement , The character can increase one 
ability score by 2 or increase two ability scores by 1 each. 

The ability score can now be increased above 20, up to a 
maximum of 30. 

New Feat The character gains a new feat chosen by the 
player, but subject to your approval. 


230 



CHAPTER 7 I TREASURE 

































Training 

A character might be offered special training in lieu of 
a financial reward. This kind of training isn’t widely 
available and thus is highly desirable. It presumes 
the existence of a skilled trainer—perhaps a retired 
adventurer or champion who is willing to serve as a 
mentor. The trainer might be a reclusive wizard or 
haughty sorcerer who owes the queen a favor, the 
knight-commander of the King’s Guard, the leader of 
a powerful druid circle, a quirky monk who lives in a 
remote mountaintop pagoda, a barbarian chieftain, a 
warlock living among nomads as a fortune-teller, or an 
absentminded bard whose plays and poetry are known 
throughout the land. 

A character who agrees to training as a reward must 
spend downtime with the trainer (see chapter 6 for 
more information on downtime activities). In exchange, 
the character is guaranteed to receive a special benefit. 
Possible training benefits include the following: 

• The character gains inspiration daily at dawn for 

ld4 + 6 days. 

• The character gains proficiency in a skill. 

• The character gains a feat. 

Epic Boons 

An epic boon is a special power available only to 20th 
level characters. Characters at that level gain such 
boons only if you want them to and only when you feel 
it’s appropriate. Epic boons are best awarded after 
the characters complete a major quest, or accomplish 
something else particularly notable. A character might 
gain an epic boon after destroying an evil artifact, 
defeating an ancient dragon, or halting an incursion 
from the Outer Planes. 

Epic boons can also be used as a form of 
advancement, a way to provide greater power to 
characters who have no more levels to gain. With this 
approach, consider awarding one epic boon to each 
character for every 30,000 XP he or she earns above 
355,000 XP. 

You determine which epic boon a character gains. 
Ideally, the boon you pick is something the character 
would put to use in future adventures. You can allow a 
player to select a boon for his or her character, subject to 
your approval. 

Whatever boon a character ends up with, consider its 
place in your story and world. Many of the boons are 
extraordinary and represent the gradual transformation 
of a character into something resembling a demigod. 

The acquisition of a boon might visibly transform a 
character. For example, the eyes of a character with 
the Boon of Truesight might glow when he or she feels 
strong emotion, and a character who has the Boon of 
High Magic might have faint motes of light glimmering 
around his or her head. Also, decide how the boon first 
appears. Does the boon appear spontaneously and 
mysteriously? Or does a being of cosmic power manifest 
to bestow it? The bestowal of a boon can itself be an 
exciting scene in an adventure. 

The text of a boon addresses its user. Unless a boon 
says otherwise, a character can’t gain it more than once. 





















Boon of Combat Prowess 

When you miss with a melee weapon attack, you can 
choose to hit instead. Once you use this boon, you can't 
use it again until you finish a short rest. 

Boon of Dimensional Travel 

As an action, you can cast the misty step spell, without 
using a spell slot or any components. Once you do 
so, you can’t use this boon again until you finish a 
short rest. 

Boon of Fate 

When another creature that you can see within 60 feet 
of you makes an ability check, an attack roll, or a saving 
throw, you can roll a dlO and apply the result as a bonus 
or penalty to the roll. Once you use this boon, you can’t 
use it again until you finish a short rest. 

Boon of Fortitude 

Your hit point maximum increases by 40. 

Boon of High Magic 

You gain one 9th-level spell slot, provided that you 
already have one. 

Boon of Immortality 

You stop aging. You are immune to any effect that would 
age you. and you can’t die from old age. 

Boon of Invincibility 

When you take damage from any source, you can reduce 
that damage to 0. Once you use this boon, you can't use 
it again until you finish a short rest. 

Boon of Irresistible Offense 

You can bypass the damage resistances of any creature. 

Boon of Luck 

You can add a dlO roll to any ability check, attack roll, 
or saving throw you make. Once you use this boon, you 
can’t use it again until you finish a short rest. 

Boon of Magic Resistance 

You have advantage on saving throws against spells and 
other magical effects. 

Boon of Peerless Aim 

You can give yourself a +20 bonus to a ranged attack roll 
you make. Once you use this boon, you can’t use it again 
until you finish a short rest. 

Boon of Perfect Health 

You are immune to all diseases and poisons, and you 
have advantage on Constitution saving throws. 

Boon of Planar Travel 
When you gain this boon, choose a plane of existence 
other than the Material Plane. You can now use an 
action to cast the plane shift spell (no spell slot or 
components required), targeting yourself only, and 
travel to the chosen plane, or from that plane back to the 
Material Plane. Once you use this boon, you can’t use it 
again until you finish a short rest. 


Boon of Quick Casting 

Choose one of your spells of 1st through 3rd level that 
has a casting time of 1 action. That spell's casting time 
is now 1 bonus action for you. 

Boon of Recovery 

You can use a bonus action to regain a number of hit 
points equal to half your hit point maximum. Once you 
use this boon, you can’t use it again until you finish a 
long rest. 

Boon of Resilience 

You have resistance to bludgeoning, piercing, and 
slashing damage from nonmagical weapons. 

Boon of Skill Proficiency 

You gain proficiency in all skills. 

Boon of Speed 

Your walking speed increases by 30 feet. 

In addition, you can use a bonus action to take the 
Dash or Disengage action. Once you do so, you can’t dc 
so again until you finish a short rest. 

Boon of Spell Mastery 

Choose one Ist-level sorcerer, warlock, or wizard spell 
that you can cast. You can now cast that spell at its 
lowest level without expending a spell slot. 

Boon of Spell Recall 

You can cast any spell you know or have prepared 
without expending a spell slot. Once you do so, you can t 
use this boon again until you finish a long rest. 

Boon of the Fire Soul 

You have immunity to fire damage. You can also cast 
burning hands (save DC 15) at will, without using a spell 
slot or any components. 

Boon of the Night Spirit 
While completely in an area of dim light or darkness, 
you can become invisible as an action. You remain 
invisible until you take an action or a reaction. 

Boon of the Stormborn 
You have immunity to lightning and thunder damage. 
You can also cast thunderwave (save DC 15) at will, 
without using a spell slot or any components. 

Boon of the Unfettered 

You have advantage on ability checks made to resist 
being grappled. In addition, you can use an action 
to automatically escape a grapple or free yourself of 
restraints of any kind. 

Boon of Truesight 

You have truesight out to a range of 60 feet. 

Boon of Undetectability 
You gain a +10 bonus to Dexterity (Stealth) checks, and 
you can’t be detected or targeted by divination magic, 
including scrying sensors. 


CHAPTER 7 I TREASURE 



Master of Rules 































o 




















Chapter 8: Running the Game 


ULES ENABLE YOU AND YOUR PLAYERS TO HAVE 
fun at the table. The rules serve you, not vice 
versa. There are the rules of the game, and 
there are table rules for how the game is 
played. For instance, players need to know 
what happens when one of them misses a 
session. They need to know whether to bring 
miniatures. any special rules you've decided to use, and 
how to treat a cocked die (a die that lands so that its 
face can't be clearly read). These topics and more are 
covered in this chapter. 

Table Rules 

Ideally, players come to the gaming table with the same 
coal: to have a fun time together. This section gives 
recommendations for table rules you can establish to 
help meet that goal. Here are some fundamentals: 

Foster respect. Don't bring personal conflicts to the 
table or let disagreements escalate into bad feelings. 
Don't touch others' dice if they’re sensitive about it. 
Avoid distractions. Turn off the television and video 
games. If you have young children, hire a babysitter. 
Reducing distractions helps players stay in character 
and enjoy the story. It might be fine to have players 
wandering away from the table and back, but some 
players prefer planned breaks. 

Have snacks. Decide before a session who will bring 
food and drink. This is often something the players 
can handle. 

Table Talk _ 

Set expectations about how players talk at the table: 



monster hits all the time, is it of a much higher level 
than the characters, or are you rolling high numbers? 

* Rolling behind a screen lets you fudge the results if 
you want to. If two critical hits in a row would kill a 
character, you could change the second critical hit 
into a normal hit, or even a miss. Don't distort die rolls 
too often, though, and don't let on that you're doing it. 
Otherwise, your players might think they don't face 
any real risks—or worse, that you're playing favorites. 

* A roll behind a screen can help preserve mystery. For 
example, if a player thinks there might be someone 
invisible nearby and makes a Wisdom (Perception) 
check, consider rolling a die behind the screen even if 
no one is there, making the player think someone is, 
indeed, hiding. Try not to overuse this trick. 

* You might choose to make a roll for a player because 
you don’t want the player to know how good the check 
total is. For example, if a player suspects a baroness 
might be charmed and wants to make a Wisdom 
(Insight) check, you could make the roll in secret for 
the player. If the player rolled and got a high number 
but didn't sense anything amiss. the player would be 
confident that the baroness wasn’t charmed. With a 
low roll, a negative answer wouldn’t mean much, A 
hidden roll allows uncertainty. 

Rolling Attacks and Damage 

Players are accustomed to rolling an attack roll first 
and then a damage roll. If players make attack rolls and 
damage rolls at the same time, the action moves a little 
faster around the table. 

Rules Discussions 


♦ Make it clear who's speaking: the character or the 
player (out of character). 

- Decide how you feel about a player sharing 
information that his or her character wouldn't know or 
that the character is incapable of sharing as a result of 
being unconscious, dead, or far away, 

■ Are you all right with players retracting what they just 
said their characters did? 


Dice Rolling 


Establish expectations about rolling dice. Rolling in full 
view of everyone is a good starting point. If you see a 
player rolling and scooping the dice up before anyone 
else can see, encourage that player to be less secretive. 

When a die falls on the floor, do you count it or reroll 
it? When it lands cocked against a book, do you pull the 
book away and see where it lands, or reroll it? 

What about you. the DM? Do you make your rolls in 
the open or hide them behind a DM screen? Consider 
the following: 

■ If you roll dice where the players can see. they know 
you're playing impartially and not fudging rolls, 

■ Rolling behind a screen keeps the players guessing 
about the strength of their opposition. When a 




You might need to set a policy on rules discussions at 
the table. Some groups don’t mind putting the game 
on hold wTiife they hash out different interpretations 
of a rule. Others prefer to let the DM make a call and 
continue with the action. If you gloss over a rules issue 
in play, make a note of it (a good task to delegate to a 
player) and return to the issue later. 

Metagame Thinking _ 

Metagame thinking means thinking about the game as 
a |ame. It’s like when a character in a movie knows it’s a 
movie and acts accordingly. For example, a player might 
say, "The DM wouldn't throw such a powerful monster 
at us!’' or you might hear, "The read-aloud text spent a 
lot of time describing that door—let's search it again!' 

Discourage metagame thinking by giving players a 
gentle reminder: "What do your characters think?' You 
can curb metagame thinking by setting up situations 
that will be difficult for the characters and that might 
require negotiation or retreat to survive. 

Missing Players __, 

How should you deal with the characters of missing 
players? Consider these options: 


CIIA PTE R 8 I R it NNiNGT H E GA M F 






* Have another player run the missing player s 
character. The player running the extra character 
should strive to keep the character alive and use 
resources wisely. 

• Run the character yourself. It's an extra burden for 
you. but it can work* 

* Decide the character isn't there. Invent a good reason 
for the character to miss the adventure, perhaps 

by having him or her linger in town or continue a 
downtime activity. Leave a way for the character to 
rejoin the party when the player returns* 

• Have the character fade into the background. This 
solution requires everyone to step out of the game 
world a bit and suspend disbelief, but might be the 
easiest solution. You act as if the character’s not there, 
but don’t try to come up with any in-game explanation 
for this absence* Monsters don't attack the character, 
who returns the favor* On returning, the player 
resumes playing as if he or she was never gone. 

Small Groups _ 

Most of the time* each player runs one character. 

The game plays best that way, without overwhelming 
anyone. But if your group is small, players can control 
more than one character. Or you can fill out the group 
with NPC followers, using the guidelines in chapter 4* 
“Creating Nonplayer Characters " You can also make 
the characters more resilient by using the healing surge 
option in chapter 9, "Dungeon Master's Workshop*” 

Don't force a reluctant player to take on multiple 
characters, and don’t show favoritism by allowing only 
one player to do so. If one character is the mentor of 
the other, the player can focus on roleplaying just one 
character. Otherwise, players can end up awkwardly 
talking to themselves in character, or avoiding 
roleplaying altogether. 

Multiple characters can be a good idea in a game 
that features nonstop peril and a high rate of character 
death* If your group agrees to the premise, have each 
player keep one or two additional characters on hand* 
ready to jump in whenever the current character dies* 
Each time the main character gains a level, the backup 
characters do as well. 

New Players 

When a new player joins the group* allow the new 
pl ayer to create a character of a level equal to the 
lowest-level member of the party* The only exception 
to this guideline is when the new player is completely 
unfamiliar with the D&D game. In that case, have that 
player start w ith a IsMevel character. If the rest of the 
party is significantly higher in level* consider taking a 
short break from the campaign and having everyone 
play a Ist-levei character for a few sessions while the 
new player learns the ropes. 

Integrating a new character into the group can be 
difficult if the party is in the middle of an adventure. The 
following approaches can help make it easier: 


- The new character is a friend or relative of one of tip 
adventurers who has been searching for the group. 

- The new character is a prisoner of the foes the other 
characters are fighting. When rescued, this character 
joins their group. 

* The new character is the sole survivor of another 
adventuring group* 

The Role of Dice 

Dice are neutral arbiters. They can determine the 
outcome of an action w ithout assigning any motivation 
to the DM and without playing favorites. The extent 10 
which you use them is entirely up to you. 

Rolling with It 

Some DMs rely on die rolls for almost everything, Whe 
a character attempts a task, the DM calls for a check an 
picks a DC* As a DM using this style, you can't rely on 
the characters succeeding or failing on any one check 
to move the action in a specific direction* You must be 
ready to improvise and react to a changing situation. 

Relying on dice also gives the players the sense that 
anything is possible. Sure, it might seem unlikely that 
the party's halting can leap on the ogre's back* pull a 
sack over its head, and then dive to safety, but with a 
lucky enough roll it just might work. 

A drawback of this approach is that roleplaying 
can diminish if players feel that their die rolls, rather 
than their decisions and characterizations* always 
determine success. 

Ignoring the Dice_J 

One approach is to use dice as rarely as possible. Some 
DMs use them only during combat* and determine 
success or failure as they like in other situations. 

With this approach* the DM decides whether an actio: 
or a plan succeeds or fails based on how well the player- 
make their case, how thorough or creative they are* or 
other factors. For example, the players might describe 
how they search for a secret door, detailing how they 
tap on a wall or twist a torch sconce to find its trigger. 
That could be enough to convince the DM that they 
find the secret door without having to make an ability 
check to do so* 

This approach rewards creativity by encouraging 
players to look to the situation you've described for an 
answer, rather than looking to their character sheet or 
their character’s special abilities* A downside is that no 
DM is completely neutral* A DM might come to favor 
certain players or approaches, or even work against 
good ideas if they send the game in a direction he or she 
doesn’t like. This approach can also slow the game if the 
DM focuses on one “correct " action that the characters 
must describe to overcome an obstacle* 

The Mid dle Path _j 

Many DMs find that using a combination of the two 
approaches works best. By balancing the use of dice 
against deciding on success* you can encourage your 
players to strike a balance between relying on their 


C HA PTE ft S RUNNING TH E G AM E 




















bonuses and abilities and paying attention 
to the game and immersing themselves in 
its world. 

Remember that dice don't run your 
game—you do. Dice are like rules. They’re 
tools to help keep the action moving. At any 
time, you can decide that a player's action is 
automatically successful. You can also grant 
the player advantage on any ability check, 
reducing the chance of a bad die roll foiling the 
character's plans. By the same token, a bad plan 
or unfortunate circumstances can transform the 
easiest task into an impossibility, or at least impose 
disadvantage. 

Using Ability Scores 9 

When a player wants to do something, its often 
appropriate to let the attempt succeed without a roll 
or a reference to the character's ability scores. For 
example, a character doesn't normally need to make 
a Dexterity check to walk across an empty room or a 
Charisma check to order a mug of ale* Only call for a 
roll if there is a meaningful consequence for failure. 

When deciding whether to use a roll, ask yourself two 
questions: 

* Is a task so easy and so free of conflict and stress that 
there should be no chance of failure? 

* Isa task so inappropriate or impossible—such as 
hitting the moon with an arrow—that it caiTt work? 

If the answer to both of these questions is no, some kind 
of roll is appropriate. The following sections provide 
guidance on determining whether to call for an ability 
check, attack roll, or saving throw; how to assign DCs; 
when to use advantage and disadvantage: and other 
related topics. 

Ability Checks _ 

An ability check is a test to see whether a character 
succeeds at a task that he or she has decided to attempt. 
The Player’s Handbook includes examples of what 
each ability score is used for. The Ability Checks table 
summarizes that material for easy reference* 

Multiple Ability Checks 
Sometimes a character fails an ability check and 
wants to try again. In some cases, a character is free 
to do so; the only real cost is the time it takes. With 
enough attempts and enough time, a character should 


eventually succeed at the task. To speed things up, 
assume that a character spending ten times the normal 
amount of time needed to complete a task automatically 
succeeds at that task* However, no amount of repeating 
the check allows a character to turn an impossible task 
into a successful one. 

In other cases, failing an ability check makes it 
impossible to make the same check to do the same thing 
again. For example, a rogue might try to trick a town 
guard into thinking the adventurers are undercover 
agents of l he king. If the rogue loses a contest of 
Charisma (Deception) against the guards Wisdom 
(Insight), the same lie told again won t work. The 
characters can come up with a different way to get past 
the guard or try the check again against another guard 
at a different gate* But you might decide that the in itial 
failure makes those checks more difficult to pull off. 



Ability Checks 


Ability 

Strength 

Dexterity 

Constitution 

Intelligence 

Wisdom 

Charisma 



Used for... 

Physical force and athleticism 
Agility, reflexes, and balance 
Stamina and health 
Memory and reason 
Perceptiveness and willpower 
Social influence and confidence 


■^L 


Example Uses 

Smash down a door, move a boulder, use a spike to wedge a door shut 
Sneak past a guard, walk along a narrow ledge, wriggle free from chains 
Endure a marathon, grasp hot metal without flinching, win a drinking contest 
Recall a bit of lore, recognize a clue’s significance, decode an encrypted message 
Spot a hidden creature, sense that someone is lying 

Persuade a creature to do something, cow a crowd, lie to someone convincingly 



CHAPTER 8 I RUNNING THE GAME 


2 'A? 




































Contests 

A contest is a kind of ability check t hat matches 
two creatures against each other. Use a contest if a 
character attempts something that either directly foils 
or is directly opposed by another creature's efforts. In a 
contest, the ability checks are compared to each other, 
rather than to a target number. 

When you call for a contest, you pick the ability that 
each side must use, deciding whether both sides use the 
same ability or whether different abilities should counter 
each other. For example, when a creature tries to hide, it 
engages in a contest of Dexterity against Wisdom. But if 
two creatures arm wrestle, or if one creature is holding 
a door closed against another's attempt to push it open, 
both use Strength. 

Attack Rolls _ 

Call for an attack roll when a character tries to hit a 
creature or an object with an attack, especially when 
the attack could be foiled by the target's armor or shield 
or by another object providing cover. You can also use 
attack rolls to resolve non combat activities such as 
archery contests or a game of darts. 

Saving Throws _ 

A saving throw is an instant response to a harmful effect 
and is almost never done by choice. A save makes the 
most sense when something bad happens to a character 
and the character has a chance to avoid that effect. An 
ability check is something a character actively attempts 
to accomplish, whereas a saving throw is a split-second 
response to the activity of someone or something else. 

Most of the time, a saving throw comes into play when 
an effect- such as a spell, monster ability, or trap—calls 
for it, telling you what kind of saving throw is involved 
and providing a DC for it. 

Other times, a situation arises that clearly calls for a 
saving throw, especially when a character is subjected 
to a harmful effect that can't be hedged out by armor or 
a shield. It’s up to you to decide which ability score is 
involved. The Saving Throws table offers suggestions. 


Intelligence Check vs. Wisdom Check 

If you have trouble deciding whether to cail for an intelli¬ 
gence or a Wisdom check to determine whether a character 
notices something, think of it in terms of what a very high or 
low score in those two abilities might mean. 

A character with a high Wisdom but low Intelligence is 
aware of the surroundings but is bad at interpreting what 
things mean. The character might spot that one section of 
a wall is clean and dusty compared to the others, but he or 
she wouldn't necessarily make the deduction that a secret 
door is there. 

In contrast, a character with high Intelligence and low 
Wisdom is probably oblivious but clever. The character might 
not spot the clean section of wall but, if asked about St, could 
immediately deduce why it f s dean. 

Wisdom checks allow characters to perceive what is 
around them (the wall is clean here), while Intelligence 
checks answer why things are that way (there's probably a 
secret door). 

q- W 


Saving Throws 

Ability 

Used For... 

Strength 

Opposing a force that would physically move 
or bind you 

Dexterity 

Dodging out of harm's way 

Constitution 

Enduring a disease, poison, or other hazard 
that saps vitality 

Intelligence 

Disbelieving certain illusions and resisting 
mental assaults that can be refuted with log,: 
sharp memory, or both 

Wisdom 

Resisting effects that charm, frighten, or 
otherwise assault your willpower 

Charisma 

Withstanding effects, such as possession, 
that would subsume your personality or hurf 
you to another plane of existence 


Difficulty Class _ 

It's your job to establish the Difficulty Class for an abil: 
check or a saving throw when a rule or an adventure 
doesn't give you one. Sometimes you’ll even want to 
change such established DCs. When you do so, think o 
how difficult a task is and then pick the associated DC 
from the Typical DCs table. 


Typical DCs 


Task 

DC 

Task 

DC 

Very easy 

5 

Hard 

20 

Easy 

10 

Very hard 

25 

Moderate 

15 

Nearly impossible 

30 


The numbers associated with these categories of 
difficulty are meant to be easy to keep in your head, 
so that you don't have to refer to this book every time 
you decide on a DC* Here are some tips for using DC 
categories at the gaming table. 

If you've decided that an ability check is called for. 
then most likely the task at hand isn’t a very easy 
one. Most people can accomplish a DC 5 task with 
little chance of failure. Unless circumstances are 
unusual, let characters succeed at such a task without 
making a check. 

Then ask yourself. “Is this task’s difficulty easy, 
moderate, or hard?" If the only DCs you ever use are 1C 
15, and 20, your game will run just fine. Keep in mind 
that a character with a 10 in the associated ability and 
no proficiency will succeed at an easy task around 50 
percent of the time, A moderate task requires a higher 
score or proficiency for success, whereas a hard task 
typically requires both. A big dose of luck with the d2Q 
also doesn't hurt, 

if you find yourself thinking, “This task Is especially 
hard/’ you can use a higher DC, but do so with caution 
and consider the level of the characters. A DC 25 task 
is very hard for low-level characters to accomplish, bin 
it becomes more reasonable after 10th level or so. A 
DC 30 check is nearly impossible for most low-level 
characters. A 20th4evel character with proficiency and 
relevant ability score of 20 still needs a 19 or 20 on the 
die roll to succeed at a task of this difficulty. 


C H \ PTE R8 I RUNNING V H E G A M E 


















Variant: Automatic Success 
Sometimes the randomness of a d20 rod leads to 
ludicrous results. Let's say a door requires a successful 
DC 15 Strength check to be battered down, A fighter 
with a Strength of 20 might helplessly Hail against the 
door because of bad die rolls. Meanwhile, the rogue with 
a Strength of 10 rolls a 20 and knocks the door from 
its hinges. 

If such results bother you, consider allowing 
automatic success on certain checks. Under this 
optional rule, a character automatically succeeds on any 
ability check with a DC less than or equal to the relevant 
ability score minus 5. So in the example above, the 
fighter would automatically kick in the door This rule 
doesn't apply to contests, saving throw's, or attack rolls. 

Having proficiency with a skill or tool can also 
grant automatic success. If a character s proficiency 
bonus applies to his or her ability check, the character 
automatically succeeds if the DC is 10 or less. If that 
character is 11 th level or higher, the check succeeds if 
the DC is 15 or less. 

The downside of this whole approach is its 
predictability. For example, once a character’s ability 
score reaches 20. checks of DC 15 and lower using that 
ability become automatic successes. Smart players 
will then always match the character with the highest 
ability score against any given check. If you want some 
risk of failure, you need to set higher DCs. Doing this, 
though, can aggravate the problem you’re trying to solve: 
higher DCs require higher die rolls, and thus rely even 
more on luck. 

Proficiency 

When you ask a player to make an ability check, 
consider whether a skill or tool proficiency might apply 
to it. The player might also ask you if a particular 
proficiency applies. 

One way to think about this question is to consider 
whether a character could become better at a particular 
task through training and practice. If the answer is 
no, ids fine to say that no proficiency applies. But if 
the answer is yes. assign an appropriate skill or tool 
proficiency to reflect that training and practice. 

Skills 

As described in the Player's Handbook , a skill 
proficiency represents a character's focus on one 
aspect of an ability. Among all the things a character’s 
Dexterity score describes, the character might be 
particularly skilled at sneaking around, reflected in 
proficiency in the Stealth skill. When that skill is used 
for an ability check, it is usually used w ith Dexterity. 

Under certain circumstances, you can decide a 
character's proficiency in a skill can be applied to a 
different ability check. For example, you might decide 
that a character forced to swim from an island to the 
mainland must succeed on a Constitution check (as 
opposed to a Strength check) because of the distance 
involved. The character is proficient in the Athletics 
skill, which covers swimming, so you allow the 
character’s proficiency bonus to apply to this ability 


check. In effect, you're asking for a Constitution 
( Athletics) check, instead of a Strength (Athletics) check. 
Often, players ask w r hether they can apply a skill 
proficiency to an ability check. If a player can provide 
a good justification for why a character’s training and 
aptitude in a skill should apply to the check, go ahead 
and allow'it, rewarding the player's creative thinking. 

Tools 

Having proficiency with a tool allows you to apply 
your proficiency bonus to an ability check you make 
using that tool. For example, a character proficient 
with carpenter's tools can apply his or her proficiency 
bonus to a Dexterity check to craft a wooden flute, an 
Intelligence check to craft a wooden secret door, or a 
Strength check to build a working trebuchet. However 
the proficiency bonus wouldn’t apply to an ability check 
made to identify unsafe wooden construction or to 
discern the origin of a crafted item, since neither check 
requires tool use. 

Saving Throws and Attack Rolls 
Characters are either proficient with a saving throw 
or attack, or they aren't. The bonus always applies if a 
character is proficient. 

Advantage and Disadvantage 

Advantage and disadvantage are among the most useful 
tools in your DM's toolbox. They reflect temporary 
circumstances that might affect the chances of a 
character succeeding or failing at a task. Advantage 
is also a great way to reward a player who shows 
exceptional creativity in play. 

Characters often gain advantage or disadvantage 
through the use of special abilities, actions, spells, or 
other features of their classes or backgrounds. In other 
cases, you decide whether a circumstance influences a 
roll in one direction or another, and you gran? advantage 
or impose disadvantage as a result. 

Consider granting advantage w r hen 

* Circumstances not related to a creature's inherent 
capabilities provide it with an edge. 

* Some aspect of the environment contributes to the 
character s chance of success. 

* A player shows exceptional creativity or cunning in 
attempting or describing a task. 

* Previous actions (whether taken by the character 
making the attempt or some other creature) improve 
the chances of success. 

Consider imposing disadvantage when ... 

* Circumstances hinder success in some way. 

* Some aspect of the environment makes success less 
likely (assuming that aspect doesn’t already impose a 
penalty to the roll being made). 

* An element of the plan or description of an action 
makes success less likely. 

Because advantage and disadvantage cancel each 
other out, there's no need to keep track of bow many 
circumstances weigh on both sides. 


CM AFTER 8 | RUN N i N O T H E G A M F 














For example, imagine a wizard is running down a 
dungeon corridor to escape from a beholden Around 
the corner ahead, two ogres lie in wait* Does the wizard 
hear the ogres readying their ambush? You took at 
the wizard's passive Wisdom (Perception) score and 
consider all the factors weighing on it. 

The wizard is running, not paying attention to what's 
ahead of him. This imposes disadvantage on the 
wizard's ability check. However, the ogres are readying 
a portcullis trap and making a lot of noise w ith a winch, 
which could grant the wizard advantage on the check. 

As a result, the character has neither advantage nor 
disadvantage on the Wisdom check, and you don’t need 
to consider any additional factors. Past encounters with 
an ogre ambush, the fact that the wizard’s ears are 
still ringing from the th underwave spell he cast at the 
beholder, the overall noise level of the dungeon—none of 
that matters any more. They all cancel out. 

Inspiration 

Awarding inspiration is an effective way to encourage 
roleplaying and risk-la king. As explained in the Player s 
Handbook , having inspiration gives a character an 
obvious benefit: being able to gain advantage on one 
ability check, attack roll, or saving throw. Remember 
that a character can have no more than one inspiration 
at a time. 



Awarding Inspiration 
Think of inspiration as a spice that you can use to 
enhance your campaign. Some DMs forgo using 
inspiration, while others embrace it as a key part of 
the game. If you take away anyth ing from this section, 
remember this golden rule; inspiration should make the 
game more enjoyable for everyone* Award inspiration 
when players lake actions that make the game more 
exciting, amusing, or memorable* 

As a rule of thumb* aim to award inspiration to each 
character about once per session of play. Over time, you 
might want to award inspiration more or less often, at 
a rate that works best for your table. You might use the 
same rate for your entire DMing career, or you might 
change it with each campaign. 

Offering inspiration as a reward encourages certain 
types of behavior in your players* Think of your style as 
a DM and your group's preferences* What helps make 
the game more fun for your group? What type of actions 
fit in with your campaign's style or genre? Your answers 
to those questions help determine when you award 
inspiration, 

RoIepJaying* U si ng i nsp i ra t i on to re wa rd role play i ng 
is a good place to start for most groups. Reward a 
player with inspiration when that player causes his or 
her character to do something that is consistent with 
the characters personality trait, flaw, or bond* The 
character's action should be notable in some way. It 
might drive the story forward, push the adventurers inh 
danger, or make everyone at the table laugh. In essencr. 
you reward the player for roleplaying in a way that 
makes the game more enjoyable for everyone else. 

Take into account each player's roleplaying style* and 
try not to favor one style over another* For example, 
Allison might be comfortable speaking in an accent and 
adopting her character's mannerisms, but Paul feels 
self-conscious when trying to act and prefers to describe 
his character's attitude and actions. Neither style is 
better than the other. Inspiration encourages players to 
take part and make a good effort* and awarding it fairly 
makes the game better for everyone. 

Heroism . You can use inspiration 10 encourage 
player characters to take risks. A fighter might not 
normally hurl himself over a balcony to land in the midst 
of a pack of hungry ghouls, but you can reward the 
character s daring maneuver with inspiration. Such a 
reward tells the players that you want them to embrace 
swashbuckling action. 

This approach is great for campaigns that emphasize 
action-packed heroics. For such campaigns, consider 
allowing inspiration to be spent after a d20 roll, rather 
than before. This approach turns inspiration into a 
cushion against failure - and a guarantee that it comes 
into play only when a player is faced directly by failure. 
Such an assurance makes risky tactics less daunting. 

A Reward for Victory . Some DMs prefer to play an 
impartial role in their campaigns. Inspiration normally 
requires a DMs judgment to award, which might 
run against your style if you like a campaign where 
you let dice determine most outcomes. If that s your 






style, consider using inspiration as a reward when 
[he characters achieve an important goal or victory, 
representing a surge of confidence and energy. 

Under this model, give everyone in the party 
inspiration if the characters manage to defeat a 
powerful foe, execute a cunning plan to achieve a 
goal or otherwise overcome a daunting obstacle in 
the campaign. 

Genre Emulation. Inspiration is a handy tool for 
reinforcing the conventions of a particular genre. 

Under this approach, think of the motifs of a genre as 
personality traits, flaws, and bonds that can apply to any 
of the adventurers. For example, in a campaign inspired 
bvfilm noir, characters could have an additional flaw: 

“I can't resist helping a person I fmd alluring despite 
warnings that he or she is nothing but trouble.” If the 
characters agree to help a suspicious but seductive 
noble and thereby become entangled in a web of intrigue 
and betrayal, reward them with inspiration. 

Similarly, characters in a horror story typically can’t 
help but spend a night in a haunted house to learn its 
secrets. They probably also go off alone when they 
shouldn’t, ff the party splits up, consider giving each 
character inspiration. 

A sensible person would avoid the noble s intrigues 
and the haunted house, but in film noir or horror, 
we re not dealing with sensible people; we re dealing 
with protagonists in a particular type of story. For this 
approach to work, create a list of your genre's main 
onventions and share it with your players. Before the 
campaign begins, talk about the list to make sure your 
group is on board for embracing those conventions. 
Players and Inspiration . Remember that a player 
with inspiration can award it to another player. Some 
groups even like to treat inspiration as a group resource, 
deciding collectively when to spend it on a roll. It s 
best to let players award their inspiration as they see 
fit. but feel free to talk to them about following certain 
guidelines, particularly if you're trying to reinforce 
conventions of a certain genre. 

When Do You Award Inspiration? 

Consider the timing of your inspiration rewards. Some 
DMs like to award inspiration in response to an action. 
Other DMs like to encourage specific actions by offering 
aspiration while a player is considering options. Both 
approaches have their strengths and weaknesses. 

Waiting until after an action preserves the flow of 
play, but it also means players don’t know whether their 
decisions will earn them inspiration. It also means the 
player can t spend the inspiration on the act that earned 
it, unless you allow a player to retroactively spend it 
or are quick enough to award it before any rolls. This 
approach works best for groups that want to focus on 
immersion and player agency where the DM steps 
back and gives the players more freedom to do what 
they want. 

Telling a player that an action will earn inspiration 
provides clarity, but it can make it feel like you are 


manipulating the players or making choices for them. 
Offering inspiration before an action works great with 
groups that are comfortable with an emphasis on genre 
emulation and group storytelling, where character 
freedom isn't as important as weaving a compelling 
tale together. 

Start with awarding inspiration after an action, 
especially for your first campaign or when playing with 
a new group. That approach is the least disruptive to the 
flow of play and avoids making the players feel as if you 
are being manipulative. 

Tracking Inspiration 

A player typically notes on a character sheet whether 
he or she has inspiration, or you can use poker chips or 
some other token Alternatively, you can hand out special 
d20s to represent inspiration. When a player spends 
inspiration, lie or she rolls the die and then hands it 
back to you. If the player instead gives the inspiration to 
someone else, the d20 can go to that other person. 

Ignoring Inspiration 

Inspiration might not work for your campaign. Some 
DMs feel it adds a layer of metagame thinking, and 
others feel that heroism, roleplaying, and other parts 
of the game are their own rewards that don’t need 
incentives like inspiration. 

If you choose to ignore inspiration, you’re telling the 
players that your campaign is one where you let the 
dice fall where they may. It's a good option for gritty 
campaigns or ones where the DM focuses on playing an 
impartial role as a rules arbiter. 

Variant; Only Players Award Inspiration 

As a DM, you have a lot to track during the game. 
Sometimes you can lose track of inspiration and forget 
to award it. As a variant rule, you can allow the players 
to handle awarding inspiral ion entirely. During every 
session, each player can award inspiration to another 
player. A player follows whatever guidelines the group 
has agreed on for awarding inspiration. 

This approach makes your life easier and also gives 
players the chance to recognize each other for good 
play. You still need to make sure that inspiration is being 
awarded fairly. 

This approach works best with groups that are 
focused on the story. It falls flat if the players merely 
manipulate it to gain advantage in key situations, 
without earning inspiration by way of good roleplaying 
or whatever other criteria the group has established. 

In this variant, you can allow each player to award 
inspiration more than once per session. If you do so, the 
first time that a player awards inspiration in a session 
is free. Whenever that player awards it later in the same 
session, you gain inspiration that you can spend to give 
advantage to any foe of the player characters. There's 
no limit to the number of inspirations you can gain in 
this way. and unspent inspiration carries over from one 
session to the next. 


CHAPTER 8 I RUNNING THE GAME 






Resolution and Consequences 

You determine the consequences of attack rolls, ability 
checks, and saving throws. In most cases, doing so is 
straightforward. When an attack hits, it deals damage. 
When a creature fails a saving throw, the creature 
suffers a harmful effect. When an ability check equals or 
exceeds the DC, the check succeeds. 

As a DM, you have a variety of flourishes and 
approaches you can take when adjudicating success and 
failure to make things a little less black-and-white. 

Success at a Cost 

Failure can be tough, but the agony is compounded 
when a character fails by the barest margin. When a 
character fails a roll by only 1 or 2. you can allow the 
character to succeed at the cost of a complication or 
hindrance. Such complications can run along any of the 
following lines: 

• A character manages to get her sword past a 
hobgoblin's defenses and turn a near miss into a hit. 
but the hobgoblin twists its shield and disarms her. 

* A character narrowly escapes the full brunt of a 
flreball but ends up prone, 

• A character fails to intimidate a kobold prisoner, but 
the kobold reveals its secrets anyway white shrieking 
at the top of its lungs, alerting other nearby monsters. 

* A character manages to finish an arduous climb to the 
top of a cliff despite slipping, only to realize that the 
rope on which his companions dangle below him is 
close to breaking. 

When you introduce costs such as these, try to make 
them obstacles and setbacks that change the nature 
of the adventuring situation. In exchange for success, 
players must consider new ways of facing the challenge. 
You can also use this technique when a character 
succeeds on a roll by hitting the DC exactly, 
complicating marginal success in interesting ways. 

Degrees of Failure 

Sometimes a failed ability check has different 
consequences depending on the degree of failure. For 
example, a character who fails to disarm a trapped chest 
might accidentally spring the trap if the check fails by 
5 or more, whereas a lesser failure means that the trap 
wasn't triggered during the botched disarm attempt. 
Consider adding similar distinctions to other checks. 
Perhaps a failed Charisma (Persuasion) check means a 
queen won't help, whereas a failure of 5 or more means 
she throws you ip the dungeon for your impudence. 

Critical Success or Failure 
Rolling a 20 or a 1 on an ability check or a saving throw 
doesn't normally have any special effect. However, 
you can choose to take such an exceptional roll into 
account when adjudicating the outcome. It's up to you 
to determine how this manifests in the game. An easy 
approach is to increase the impact of the success or 
failure. For example, rolling a 1 on a failed attempt 
to pick a lock might break the thieves' tools being 
used, and rolling a 20 on a successful Intelligence 
(Investigation) check might reveal an extra clue. 


Exploration 

This section provides guidance for running exploration, 
especially travel, tracking, and visibility. 

Using a Map_] 

Whatever environment the adventurers are exploring, 
you can use a map to follow their progress as you relate 
the details of their travels, fn a dungeon, tracking 
movement on a map lets you describe the branching 
passages, doors, chambers, and other features the 
adventurers encounter as they go, and gives the players 
the opportunity to choose their own path. Similarly, a 
wilderness map can show roads, rivers, terrain, and 
other features that might guide the characters on their 
travels—or lead them astray. 

The Map Travel Pace table helps you track travel on 
maps of different scales. The table shows how much 
distance on a map the adventurers can cover on foot 
in minutes, hours, or days. The table uses the travel 
paces—slow, normal, and fast—described in the Players 
Handbook. Characters moving at a normal pace can 
walk about 24 miles in a day. 

Map Travel Pace 


Map Scale 

Slow Pace 

Normal Pace 

Fast Pace 

Dungeon 
(1 sq. - 10 ft.) 

20 sq./min. 

30 sq./min. 

40 sq./min. 

City 

(1 sq. » 100 ft.) 

2 sq./min. 

3 sq./min. 

4 sq./min. 

Province 

2 hexes/hr., 

3 hexes/hr., 

4 hexes/hr, p 

(1 hex = 1 mi.) 

IS hexes/day 

24 hexes/day 

30 hexes/day 

Kingdom 

1 hex/3 hr, 

1 hex/2 hr,, 

1 hex/IVz hr., 

(1 hex = 6 mi.) 

3 hexes/day 

4 hexes/day 

5 hexes/day 


Special Travel Pace 

The rules on travel pace in the Player’s Handbook 
assume that a group of travelers adopts a pace that, over 
time, is unaffected by the individual members' walking 
speeds. The difference between walking speeds can 
be significant during combat, but during an overland 
journey, the difference vanishes as travelers pause to 
catch their breath, the faster ones wait for the slower 
ones, and one traveler’s quickness is matched by 
another traveler’s endurance. 

A character bestride a phantom steed, soaring 
through the air on a carpet of flying, or riding a sailboat 
or a steam-powered gnomish contraption doesn't travel 
at a normal rate, since the magic, engine, or wind 
doesn't tire the way a creature does and the air doesn’t 
contain the types of obstructions found on land. When a 
creature is traveling with a flying speed or with a speed 
granted by magic, an engine, or a natural force (such as 
wind or a water current), translate that speed into travel 
rates using the following rules: 

* In 1 minute, you can move a number of feet equal to 
your speed times 10. 

* In 1 hour, you can move a number of miles equal to 
your speed divided by 10. 


C H A PT E R ft ! RUNNING T H E G A M E 
















- For daily travel* multiply your hourly rate of travel by 
the number of hours traveled (typically 8 hours)* 

* For a fast pace, increase the rate of travel by one-third. 

* For a slow pace, multiply the rate by two-thirds. 

For example, a character under the effect of a wind 
walk spell gains a flying speed of 300 feet. In 1 minute, 
the character can move 3,000 feet at a normal pace, 
4,000 feet at a fast pace, or 2,000 feet at a slow pace. 
The character can also cover 20, 30, or 40 miles in an 
hour. The spell lasts for 8 hours, allowing the character 
to travel 160, 240, or 320 miles in a day. 

Similarly, a phantom steed spell creates a magical 
mount with a speed of 100 feet that doesn’t tire like a 
real horse. A character on a phantom steed can cover 
1,000 feet in 1 minute at a normal pace, 1.333 feet at 
a fast pace, or 666 feel at a slow pace. In 1 hour, the 
character can travel 7, 10. or 13 miles. 

Visibility Outdoors 

When traveling outdoors, characters can see about 2 
miles in any direction on a clear day, or until the point 
where trees, hills, or other obstructions block their view. 


Rain normally cuts maximum visibility down to 1 mile, 
and fog can cut it down to between 100 and 300 feet. 

On a clear day* the characters can see 40 miles if they 
are atop a mountain or a tall hill t or are otherwise able 
to look down on the area around them from a height. 

Noticing Ot her Cre ature s_ 

While exploring* characters might encounter oiher 
creatures. An important question in such a situation is 
who notices whom. 

Indoors* whether the sides can see one another 
usually depends on the configuration of rooms and 
passageways* Vision might also be limited by light 
sources. Outdoor visibility can be hampered by terrain* 
weather, and time of day. Creatures can be more likely 
to hear one another before they see anything. 

If neither side is being stealthy, creatures 
automatically notice each other once they are within 
sight or hearing range of one another. Otherwise* 
compare the Dexterity (Stealth) check results of the 
creatures in the group that is hiding with the passive 
Wisdom (Perception) scores of the other group* as 
explained in the Player's Handbook * 


chapter h 


RUNNING THE GAME 




















Tracking 


Adventurers sometimes choose their path by following 
the tracks of other creatures—or other creatures might 
track the adventurers! To track, one or more creatures 
must succeed on a Wisdom (Survival) check. You might 
require trackers to make a new check in any of the 
following circumstances: 

* They stop tracking and resume after finishing a short 
or long rest, 

- The trail crosses an obstacle, such as a river, that 
shows no tracks. 

- The weather conditions or terrain changes in a way 
that makes tracking harden 

The DC for the check depends on how r w r ell the ground 
shovvs signs of a creature’s passage. No roll is necessary 
in situations where the tracks are obvious. For example, 
no check is needed to track an army advancing along 
a muddy road. Spotting tracks on a bare stone floor is 
more challenging, unless the creature being tracked 
leaves a distinct trail. Additionally, the passage of time 
often makes tracks harder to follow. In a situation where 
there is no trail to follow', you can rule that tracking is 
impossible. 

The Tracking DCs table offers guidelines for setting 
the DC or, if you prefer, you can choose a DC based on 
your assessment of the difficulty. You can also grant 
advantage on the check if there's more than one set 
of tracks to follow, or disadvantage if the trail being 
followed passes through a well-trafficked area. 

On a failed check, the character loses the trail but can 
attempt to find it again by making a careful search of the 
area, it takes 10 minutes to find a trail in a confined area 
such as a dungeon, or 1 hour outdoors. 


Tracking DCs 

Ground Surface DC 

Soft surface such as snow 10 

Dirt or grass 15 

Bare stone 20 

Each day since the creature passed +5 

Creature left a trail such as blood -5 


Social Interaction 

During a social interaction, the adventurers usually have 
a goal. They want to extract information, secure aid, 
win someone's trust, escape punishment, avoid combat, 
negotiate a treaty, or achieve whatever other objective 
led to the interaction in the first place. The creatures 
they interact with also have agendas. 

Some DMs prefer to run a social interaction as a 
free form roleplaying exercise, where dice rarely come 
into play. Other DMs prefer to resolve the outcome of 
an interaction by having characters make Charisma 
checks. Either approach works, and most games 
fall somewhere in between, balancing player skill 
(roleplaying and persuading) with character skill 
(reflected by ability checks). 


Resolving Interactions 

The Players Hand hook provides guidelines for 
balancing roleplaying and ability checks in a social 
interaction (see chapter 8, 'Adventuring,” in that book 
This section adds to that material by providing a 
structured way to resolve a social interaction. Much of 
this structure will be invisible to your players in play a rtf 
isn't meant to be a substitute for roleplaying. 

L Starting Attitude 
Choose the starting attitude of a creature the 
adventurers are interacting with: friendly, indifferent, 
or hostile, 

A friendly creature wants to help the adventurers 
and wishes for them to succeed. For tasks or actions 
that require no particular risk, effort, or cost, friendly 
creatures usually help without question. If an element : i 
persona! risk is involved, a successful Charisma check 
might be required to convince a friendly creature to take 
that risk. 

An indifferent creature might help or hinder the 
party, depending on what the creature sees as most 
beneficial A creature's indifference doesn't necessarih 
make it standoffish or disinterested. Indifferent 
creatures might be polite and genial, surly and irritable 
or anything in between. A successful Charisma check 
is necessary when the adventurers try to persuade an 
indifferent creature to do something, 

A hostile creature opposes the adventurers and their 
goals but doesn't necessarily attack them on sight. 

For example, a condescending noble might wish to 
see a group of upstart adventurers fail so as to keep 
them from becoming rivals for the king’s attention, 
thwarting them with slander and scheming rather thar 
direct threats and violence. The adventurers need to 
succeed on one or more challenging Charisma checks 
to convince a hostile creature to do anything on their 
behalf. That said, a hostile creature might be so ill- 
disposed toward the party that no Charisma check can 
improve its attitude, in which case any attempt to sway r 
through diplomacy fails automatically, 

2. Conversation 

Play out the conversation. Let the adventurers make 
their points, trying to frame their statements in 
terms that are meaningful to the creature they are 
interacting with. 

Changing Attitude. The attitude of a creature 
might change over the course of a conversation. If 
the adventurers say or do the right things during 
an interaction (perhaps by couching on a creature's 
ideal, bond, or flaw), they can make a hostile creature 
temporarily indifferent, or make an indifferent creature 
temporarily friendly. Likewise, a gaffe, insult, or harmful 
deed might make a friendly creature temporarily 
indifferent or turn an indifferent creature hostile. 

Whether the adventurers can shift a creature's 
attitude is up to you. You decide whether the adventurers 
have successfully couched their statements in terms 
that matter to the creature. Typically, a creature’s 
attitude can’t shift more than one step during a single 
interaction, whether temporarily or permanently. 


C H A PT F. R S I R u N N1 N G T H E GA NI E 









Determining Chara c ten sties. The adventurers don't 
necessarily enter into a social interaction with a full 
understanding of a creature's ideal, bond, or Haw, If they 
want to shift a creature's attitude by playing on these 
characteristics, they first need to determine what the 
creature cares about- They can guess- but doing so runs 
the risk of shifting the creature’s attitude in the wrong 
d i re ct i o n if they gue ss bad ly. 

After interacting with a creature long enough to get 
a sense of its personality traits and characteristics 
through conversation- an adventurer can attempt a 
Wisdom (Insight) check to uncover one of the creature's 
characteristics. You set the DC. A check that fails by 
10 or more might misidentify a characteristic so you 
should provide a false characteristic or invert one of 
the creature's existing characteristics. For example, if 
an old sage's flaw is that he is prejudiced against the 
uneducated, an adventurer who badly fails the check 
might be told that the sage enjoys personally seeing to 
the education of the downtrodden. 

Given time, adventurers can also learn about a 
creature s characteristics from other sources, including 
its friends and allies, personal letters, and publicly told 
stories- Acquiring such information might be the basis 
of an entirely different set of social interactions. 

3, Charisma Check 

When the adventurers get to the point of their 
request, demand, or suggestion —or if you decide the 
conversation has run its course-call for a Charisma 
check. Any character who has actively participated in 
the conversation can make the check. Depending on 
how the adventurers handled the conversation- the 
Persuasion, Deception, or Intimidation skill might apply 
to the check. The creature’s current attitude determines 
the DC required to achieve a specific reaction, as shown 
in the Conversation Reaction table. 

Conversation Reaction 

DC Friendly Creature's Reaction 

0 The creature does as asked without taking risks or 
making sacrifices. 

10 The creature accepts a minor risk or sacrifice to do 
as asked. 

20 The creature accepts a significant risk or sacrifice to 
do as asked. 

DC Indifferent Creature's Reaction 

0 The creature offers no help but does no harm, 

10 The creature does as asked as long as no risks or 

sacrifices are involved. 

20 The creature accepts a minor risk or sacrifice to do 
as asked. 

DC Hostile Creature’s Reaction 

0 The creature opposes the adventurers’ actions and 
might take risks to do so, 

10 The creature offers no help out does no harm, 

20 The creature does as asked as long as no risks or 

sacrifices are involved. 


Aiding the Check , Other characters who make 
substantial contributions to the conversation can help 
the character making the check. If a helping character 
says or does something that would influence the 
interaction in a positive way, the character making 
the Charisma check can do so with advantage. If 
the other character inadvertently says something 
counterproductive or offensive, the character making 
the Charisma check has disadvantage on that check. 

Multiple Cheeks . Certain situations might call for 
more than one check, particularly if the adventurers 
come into the interaction with multiple goals. 

4, Repeat? 

Once a Charisma check has been made, further 
attempts to influence the target of the interaction might 
be fruitless or run the risk of upsetting or angering the 
subject creature, potentially shifting its attitude toward 
hostility. Use your best judgment. For example, if the 
party's rogue says something that pushes a noble's 
attitude toward the party from indifferent to hostile, 
another character might be able to diffuse the noble's 
hostility with clever roleplaying and a successful 
Charisma (Persuasion) check. 

Role playing 

For some DMs, roleplaying comes naturally. If it doesn't 
come naturally for you, don't worry. The main thing is 
for you to have fun portraying your NPCs and monsters 
and to amuse your players in the process. You don’t 
need to be a practiced thespian or comedian to create 
drama or humor. The key is to pay attention to the story 
elements and characterizations that make your players 
laugh or feel emotionally engaged and to incorporate 
those things into your roleplaying. 

Being the NPC 

Imagine how a character or monster you bring to life 
would react to the adventurers. Consider what it cares 
about. Does it have any ideals, flaws, or bonds? By 
working such things into your portrayal, you not only 
make the character or monster more believable, but you 
also enhance the sense that the adventurers are in a 
living world. 

Strive for responses and actions that introduce twists 
into the game. For example, an old woman whose family 
was killed at the hands of an evil wizard might regard 
the party's wizard with grave suspicion. 

However you roleplay a character or monster, the 
classic advice for writers holds true: show, don’t tell. For 
example, rather than describe an NPC as shallow and 
self-centered, have the individual act the way you would 
expect a shallow, self-centered person to behave. The 
NPC might have off-the-cuff answers for everything, 
an over-willingness to share personal anecdotes, and a 
desperate need to make himself or herself the subject of 
every conversation. 

Using Your Voice 

Most of what you say during a session will be at a 
consistent level. For dramatic effect, be ready to shout 
out a battle cry or speak in a conspiratorial whisper. 


OH A PT U.R 8 ; R U N N I N G T H E G A M E 










Also, characters and monsters with distinctive voices 
are memorable* If you’re not a natural mimic or actor, 
borrowing distinctive speech patterns from real life, the 
movies, or television is a good place to start. Practice 
different voices and impersonations of famous people, 
then use those voices to bring your NPCs to life. 

Experiment with different speech patterns. For 
instance, a barmaid and a city magistrate probably use 
their words differently. Similarly, peasants could speak 
in earthy dialects, while rich folk talk in haughty drawls. 
Let a pirate N PC say, "Arrrr, maties!” in your best Long 
John Silver voice. Let intelligent monsters unfamiliar 
with Common stumble along with awkward grammar. 
Let drunkards and monsters mutter with slurred 
speech, while lizardfolk hiss their threats. 

In any interaction with multiple NPCs. make sure 
the adventurers remain the focus. Have the NPCs talk 
to them, not so much to each other. If possible, let one 
NPC do most of the talking, but if multiple NPCs need 
to talk, give them distinct voices so the players know 
who's who. 

Using Your Face and Arms 

Use your facial expressions to help show a character’s 
emotions. Scowl, smile, grin, snarl, pout, cross your 
eyes—do whatever it takes to make the character or 
monster memorable to the players. When you combine 
facial expressions with an unusual voice, a character 
truly comes to life. 

Though you don’t need to stand up out of your chair, 
you can use your arms to bring even more life to an 
NPC. A noble could chop the air with one hand while 
speaking in a deadpan monotone, while an archmage 
might express her displeasure by silently rolling her 
eyes and massaging her temples with her fmgers. 

Engaging the Players 

Some players enjoy roleplaying and interaction more 
than others. Whatever your players' tastes, your 
lively portrayal of NPCs and monsters can inspire 
players to make just as much investment in portraying 
their characters. This makes social interactions an 
opportunity for everyone to become more immersed 
in the game, creating a story whose protagonists 
have depth. 

To make sure everyone has something to do during a 
roleplaying-heavy game session, consider one or more of 
the following approaches. 

Appeal to Player Preferences. There are in-game 
activities that players enjoy more than others, as 
discussed in this hook's introduction. Players who like 
acting thrive in interaction situations, and it's fine to let 
those players take the spotlight. They often inspire other 
players by their example, but make sure those other 
players have an opportunity to join in the fun. 

Players who like exploring and storytelling are 
usually amenable to roleplaying t as long as it moves the 
campaign forward and reveals more about the world. 
Players who like problem-solving often enjoy figuring 
out the right thing to say to shift an NPC s attitude. 
Players who are instigators like provoking reactions 
from NPCs, so they’re often easily engaged—though not 
always productively. 


Players who like to optimize their characters and 
slay monsters also like to argue, and having conflict 
within an interaction can help those players embrace 
roleplaying. Still, creating combat connections to an 
extended interaction (such as a corrupt vizier sending 
assassins to kill the adventurers) is often the best way 
keep action-focused players engaged. 

Target Specific Characters . Create situations where 
characters who might not otherwise be engaged with a 
social interaction have to do at least some of the talkie. 
Perhaps the NPC in question is a family member or 
a contact of a particular adventurer and talks only to 
that character. An NPC of a certain race or class might 
listen only to characters he or she feels a kinship with. 
Creating a sense of importance can be a great way to ge _ 
specific players engaged, but don't shut out players wh 
are already role playing. 

If a couple of players are dominating the conversation, 
take a moment now and then to involve the others. You 
can do this in character if you like: "And what about your 
hulking friend? Speak, barbarian! What will you pledge 
in exchange for my favor?' 1 Or just ask the player what 
his or her character is doing while the conversation is 
going on. The first approach is better for players who art 
already comfortable speaking in their characters' voices 
The second approach works better for players who nee : 
encouragement to engage in a roleplaying scenario. 

Objects 

When characters need to saw through ropes, shatter a 
window, or smash a vampire's coffin, the only hard an:: 
fast rule is this: given enough time and the right tools, 
characters can destroy any destructible object. Use 
common sense when determining a character's succes 
at damaging an object. Can a fighter cut through a 
section of a stone wall with a sword? No, the sword is 
likely to break before the wall does. 

For the purpose of these rules, an object is a discrete, 
inanimate item like a window, door, sword, book, 
table, chair, or stone, not a building or a vehicle that is 
composed of many other objects. 

Statistics for Objects 

When time is a factor* you can assign an Armor Class 
and hit points to a destructible object. You can also give 
it immunities, resistances, and vulnerabilities to specif 
types of damage. 

Armor Class. An object's Armor Class is a measure 
of how difficult it is to deal damage to the object when 
striking it (because the object has no chance of dodging 
out of the way). The Object Armor Class table provides 
suggested AC values for various substances. 


Object Armor Class 


Substance 

AC 

Substance 

AC 

Cloth, paper, rope 

11 

Iron, steel 

19 

Crystal, glass, ice 

13 

Mitbral 

21 

Wood, bone 

Stone 

15 

17 

Adamantine 

23 


24 b 


C B A PIERS ! .R U N KING T ML G A M E 


Hit Points* An objects hit p ts — ^ how much 

damage it can take before losing ::s . era I integrity. 

Resilient objects have more hit: - - fragile ones. 
Large objects also tend to have m re hit r lints than 
small ones, unless breaking a small : mt of the object is 
just as effective as breaking ibe win >ie thing. The Object 
Hit Points table provides suggested hit points for fragile 
and resilient objects that are Large or smaller. 


Object Hit Points 


Size 

Fragile 

Resilient 

Tiny (bottle, lock) 

2 (ld4) 

5 (2d4) 

Small {chest, lute) 

3 (ld6) 

10 (3d6) 

Medium (barrel, chandelier) 

4 (IdS) 

18 (4d8) 

Large (cart, lO-ft.-by-10-ft. window) 

5 (IdlO) 

27 {SdlO) 


Huge and Gargantuan Objects . Normal weapons are 
of little use against many Huge and Gargantuan objects, 
such as a colossal statue, towering column of stone, or 
massive boulder. That said, one torch can burn a Huge 
tapestry, and an earthquake spell can reduce a colossus 
to rubble. You can track a Huge or Gargantuan object's 
h it points if you like, or you can simply decide how long 
the object can withstand whatever weapon or force is 
acting against it. If you track hit points for the object, 
divide it into Large or smaller sections, and track each 
section's hit points separately. Destroying one of those 
sections could ruin the entire object. For example, a 
Gargantuan statue of a human might topple over when 
one of its Large legs is reduced to 0 hit points. 

Objects and Damage Types* Objects are immune 
ro poison and psychic damage. You might decide 
that some damage types are more effective against a 
particular object or substance than others. For example, 
bludgeoning damage works well for smashing tilings 
but not for cutting through rope or leather. Paper or 
cloth objects might be vulnerable to fire and lightning 
damage, A pick can chip away stone but can’t effectively 
cut down a tree. As always, use your best judgment. 

Damage Threshold. Big objects such as castle walls 
often have extra resilience represented by a damage 
threshold. An object with a damage threshold has 
immunity to all damage unless it takes an amount 
of damage from a single attack or effect equal to or 
greater than its damage threshold, in which case it 
takes damage as normal. Any damage that fails to meet 
or exceed the object’s damage threshold is considered 
superficial and doesn't reduce the object’s hit points. 

Combat 

This section builds on the combat rules in the Players 
Handbook and offers tips for keeping the game running 
smoothly when a fight breaks out. 

Tracking Initiative _ 

You can use several different methods for keeping track 
of who goes when in combat. 

Hidden List 

Many DMs keep track of initiative on a list the players 
can't see: usually a piece of paper behind a DM screen 


r a spreadsheet on a tablet computer. This method 
allows you to keep track of combatants who haven’t been 
revealed yet, and you can use the initiative list as a place 
to record the current hit points of monsters, as well as 
other useful notes. 

A downside of this approach is that you have to remind 
the players round after round when their turns come up. 

Visible List 

You can use a whiteboard to track initiative. As the 
players tell you their initiative numbers, write them on 
the whiteboard in order from highest to lowest, leaving 
space between each name. Either write the monsters 1 
initiatives on the list at the same time or add them to the 
list on each monster's first turn. 

As a further improvement, use magnets that you can 
attach to a metal-based whiteboard with characters' and 
monsters' names written on them, or write those names 
on cards held in place by magnets. 

A visible list lets everyone see the order of play. 

Players know r when their turns are coming up, and they 
can start planning their actions in advance. A visible list 
also removes any uncertainty about when the monsters 
will act in the fight. 

A variation on the visible list is to give one player 
responsibility for keeping track of initiative, either on 
a whiteboard or on a piece of paper the other players 
can see. Phis method reduces the number of things you 
need to keep track of yourself. 

Index Cards 

In this approach, each character gets an index card, as 
does each group of identical monsters. When the players 
tell you their initiative numbers, write the numbers on 
their characters’ index cards. Do the same when you roll 
the monsters' initiative. Then arrange the cards in order 
from highest to lowest. Starting at the top, you move 
down through the stack. When you call out the name of 
the character whose turn it is, also mention who's next, 
prompting that player to start thinking ahead. After 
each character or group of monsters acts, the top card is 
moved to the bottom of the stack. 

At first, players don't know the order of play when 
you use combat cards, and they don't know where the 
monsters fall into the order until the monsters act. 

Tracking Monster Hit Points 

During a combat encounter, you need to track how much 
damage each monster takes. Most DMs track damage 
in secret so that their players don’t know how many hit 
points a monster has remaining. Whether you choose to 
be secretive or not is up to you. What's important is that 
every monster’s hit points be tracked individually. 

Tracking damage for one or two monsters isn't 
onerous, but it helps to have a system for larger 
groups of monsters. If you aren't using miniatures 
or other visual aids, the easiest way to keep track 
of your monsters is to assign them unique features. 
Descriptions such as “the ogre with the nasty scar" 
and "the ogre with the horned helm" help you and your 
players track which monster is which. For example, 
imagine that you're running an encounter with three 

CHAPTER 8 I RUNNING THE GAME 







3<> 


25 




’5 


lo 


5 





ogres* each of which has 59 hit points. Once initiative 
is rolled* jot down each ogre’s hit points and add notes 
(and even a name, if you like) to differentiate each one; 

Krag (ogre w/ scar}: 59 

Thod [ogre w/ helm): 59 

Mur (ogre who smells like poo): 59 

If you use miniatures to represent monsters, one 
easy way to differentiate them is to give each one a 
unique miniature. If you use identical miniatures to 
represent multiple monsters, you can tag the miniatures 
with small stickers of different colors or stickers with 
different letters or numbers on them. 

For example, in a combat encounter with three ogres, 
you could use three identical ogre miniatures tagged 
with stickers marked A, B, and C. respectively. To track 
the ogres L hit points, you can sort them by letter* then 
subtract damage from their hit points as they take it. 
Your records might look something like this after a few 
rounds of combat: 

Ogre A: §9 %% 45 24 44 9 dead 
Ogre B: 59 54 30 
Ogre C: 59 

Players often ask how hurt a monster looks. Don't ever 
feel as though you need to reveal exact hit points, but if 
a monster is below half its hit point maximum* it's fair to 
say that it has visible wounds and appears beaten down. 
You can describe a monster taken Lo half its hit points as 
bloodied, giving the players a sense of progress in a fight 
against a tough opponent* and helping them judge when 
to use their most powerful spells and abilities. 


Using and Tracki ng Condit ions 

Various rules and features in the game are clear about 
when they apply a condition to a creature. You can als : 
apply conditions on the fly. They’re meant to be intuitu 
for you to do so. For example, if a character is in a star- 
such as sleep, that lacks consciousness, you can say 
the character is unconscious. Or did a character just 
stumble onto the ground? He or she is now prone. 

Keeping track of conditions can become tricky. 

For monsters* it’s often easiest to track conditions on 
combat cards or wherever you track initiative. Players 
should remember any conditions affecting their 
characters. Because players have incentive to forget or 
overlook hampering conditions* character conditions 
can also be marked on combat cards or a whiteboard. 

You might also try keeping a supply of index cards or 
hand, marked with conditions and their effects. Then 
hand the cards to players as the conditions come up. 
Having a bright pink index card on top of a character 
sheet can help even the most absentminded player 
remember the effects of being charmed or frightened. 


Monsters and Critical Hits 

A monster follows the same rule for critical hits as 
a player character, Thai said, if you use a monster's 
average damage* rather than roiling, you might wonder 
how to handle a critical hit. When the monster scores 
a critical hit* roll all the damage dice associated with 
the hit and add them to the average damage. For 
example, if a goblin normally deals 5 (ld6 + 2) slashing 
damage on a hit and scores a critical hit. it deals 5 + Id 
slashing damage. 


Grtfi&ANTUANi 


Huge 


Tiny 


Medium 


Small 




sj 1 1 


'T > A.-; 

ft * 














Improvising Damage 


A monster or effect typically specifics the amount of 
damage it deals* In some cases, though, you need to 
determine damage on the fly, The I mprovisi ng Damage 
table gives you suggestions for when you do so. 

Improvising Damage 

Dice Examples 

1 dlO Burned by coats, hit by a falling bookcase, pricked 
by a poison needle 

2d 10 Being struck by lightning, stumbling into a fire pit 

4dl0 Hit by falling rubble in a collapsing tunnel, 
stumbling into a vat of acid 

1 OdIO Crushed by compacting walls, hit by whirling steel 
blades, wading through a lava stream 

ISdlQ Being submerged in lava, being hit by a crashing 
flying fortress 

24dl0 Tumbling into a vortex of fire on the Elemental 

Plane of Fire, being crushed in the jaws of a godlike 
creature or a moon-sized monster 

The Damage Severity and Level table is a guide to 
how deadly these damage numbers are for characters 
of various levels. Cross-reference a character s level 
with the damage being dealt to gauge the severity of 
the damage. 


In contrast* dangerous damage values pose a 
significant threat to weaker characters and could 
potentially kill a character of the level shown if that 
character is missing many hit points. 

As the name suggests, deadly damage is enough 
to drop a character of the level shown to 0 bit points* 
This level of damage can kill even powerful characters 
outright if they are already wounded. 

Adjudicating Areas of Effect 

Many spells and other game features create areas of 
effect, such as the cone and the sphere. If you’re not 
using miniatures or another visual aid, it can sometimes 
be difficult to determine who’s in an area of effect and 
who isn't. The easiest way to address such uncertainty 
is to go with your gut and make a call. 

If you would like more guidance, consider using 
the Targets in Areas of Effect table. To use the table, 
imagine which combatants are near one another, and 
let the table guide you in determining the number of 
those combatants that are caught in an area of effect. 
Add or subtracr targets based on how bunched up the 
potential targets are. Consider rolling ld3 to determine 
the amount to add or subtract. 

Targets in Areas of Effect 


Damage Severity and Level 


Area 

Number of Targets 

Character Level 

Setback 

Dangerous 

Deadly 

Cone 

Size -r 10 (round up) 

1 s t— 4 th 

1 d 10 

2dl0 

4dl0 

Cube or square 

Size 4 5 (round up) 

Sth—10 th 

2dl0 

4dl0 

lOdlO 

Cylinder 

Radius ~ 5 (round up) 

nth-16th 

4cfl0 

lOdlO 

18dl0 

Line 

Length A 30 (round up) 

17th-20th 

TOdlO 

lSdlO 

24d 10 

Sphere or circle 

Radius -r 5 (round up) 


Damage sufficient to cause a setback rarely poses 
a risk of death to characters of the level shown, but 
a severely weakened character might be laid low by 
this damage. 


For example, if a wizard directs burning hands (a 
15-foot cone ' at a nearby group of ores, you could use 
the table and say that two ores are targeted (15 * 10 
= 1.5. rounded up to 2). Similarly, a sorcerer could 


C I [ APT t: RSI U U \ r N 3 N G THE G A M E 




























C H A PT li R 8 R U N N1 N C THE G A M F 


launch a boL (100-foot line) at some ogres 

and hobgoblins, and you could use the table to say 
four of the monsters are targeted (100 -f 30 = 3.33, 
rounded up to 4), 

This approach aims at simplicity instead of spatial 
precision. If you prefer more tactical nuance, consider 
using miniatures. 

Handling Mobs 


Keeping combat moving along at a brisk pace can be 
difficult when there are dozens of monsters involved 
in a battle. When handling a crowded battlefield, you 
can speed up play by forgoing attack rolls in favor of 
approximating the average number of hits a large group 
of monsters can inflict on a target. 

Instead of rolling an attack roll, determine the 
minimum d20 roll a creature needs in order to hit a 
target by subtracting its attack bonus from the target's 
AC. You’ll need to refer to the result throughout the 
battle, so it’s best to write it down. 

Lookup the minimum d20 roll needed on the Mob 
Attacks table. The table shows you how many creatures 
that need that die roll or higher must attack a target 
in order for one of them to hit. If that many creatures 
attack the target, their combined efforts result in one of 
them hitting the target. 

For example, eight ores surround a fighter. The ores’ 
attack bonus is +5, and the fighter’s AC is 19, The ores 
need a 14 or higher to hit the fighter. According to the 
table, for every three ores that attack the fighter, one 
of them hits. There are enough ores for two groups of 
three. The remaining two ores fail to hit the fighter. 

If the attacking creatures deal different amounts 
of damage, assume that the creature that deals the 
most damage is the one that hits. If the creature that 
hits has multiple attacks with the same attack bonus, 
assume that it hits once with each of those attacks. If a 
creature's attacks have different attack bonuses, resolve 
each attack separately. 

This attack resolution system ignores critical hits in 
favor of reducing the number of die rolls. As the number 
of combatants dwindles, switch back to using individual 
die rolls to avoid situations where one side can’t possibly 
hit the other. 


Mob Attacks 

d20 Roll 
Needed 

1-5 

6-12 

13-14 

15-16 

17—18 

19 

20 


Attackers Needed 
for One to Hit 

1 

2 

3 

4 

5 

10 

20 


Using Miniatures 


In combat, players can often rely on your descriptions 
to visualize where their characters are in relation to 
their surroundings and their enemies. Some complex 
battles, however, are easier to run with visual aids, thr 
most common of which are miniatures and a grid. If 
like to construct model terrain, build three-dimension 
dungeons, or draw maps on large vinyl mats, you she . id 
also consider using miniatures. 

The Players Handbook offers simple rules for 
depicting combat using miniature figures on a grid. Tri¬ 
section expands on that material. 

Tactical Maps 

You can draw tactical maps with colored markers on . 
wet-erase vinyl mat with 1-inch squares, on a large she 
of paper, or on a similar flat surface. Preprinted poster- 
sized maps, maps assembled from cardboard tiles, ar 1 
terrain made of sculpted plaster or resin are also fur. 

The most common unit for tactical maps is the 5-f< 
square, and maps with grids are readily available and 
easy to create. However, you don’t have to use a grid a: 
all. You can track distances with a tape measure, string 
craft sticks, or pipe cleaners cut to specific lengths. 
Another option is a play surface covered by 1-inch 
hexagons (often called hexes), which combines the easy 
counting of a grid with the more flexible movement of 
using no grid. Dungeon corridors with straight walls 
and right angles don’t map easily onto hexes, though 


Flashing (Squares) 


Half Cover (Squares) 


Three-Quarters Cover (Square! 

























I 




Creature Size on Squares and Hexes 

A creature’s size determines how much space it 
occupies on squares or hexes, as shown in the Creature 
Size and Space table* If the miniature you use for a 
monster takes up an amount of space different from 
what’s on the table, that’s fine, but treat the monster 
as its official size for all other rules. For example, 
you might use a miniature that has a Large base to 
represent a Huge giant. That giant takes up less space 
on the battlefield than its size suggests, but it is still 
Huge for the purposes of rules like grappling. 

Creature Size and Space 


Size 

Space: Squares 

Space: Hexes 

Tiny 

4 per square 

4 per hex 

Small 

1 square 

1 hex 

Medium 

1 square 

1 hex 

Large 

4 squares (2 by 2) 

3 hexes 

Huge 

9 squares (3 by 3) 

7 hexes 

Gargantuan 

16 squares (4 by 4) or more 

12 hexes or more 

Areas of 

Effect 



The area of effect of a spell, monster ability, or other 
feature must be translated onto squares or hexes to 
determine which potential targets are in the area and 
which aren’t. 

Choose an intersection of squares or hexes as the 
point of origin of an area of effect, then follow its rules 
as normal. If an area of effect is circular and covers at 
least half a square, it affects that square* 

Line of Sight 

To precisely determine whether there is line of sight 
between two spaces, pick a corner of one space and 
trace an imaginary line from that corner to any pan 
of another space. If at least one such line doesn't pass 
through or touch an object or effect that blocks vision- 
such as a stone wall, a thick curtain, or a dense cloud of 
fog—then there is line of sight. 

Cover 

To determine whether a target has cover against an 
attack or other effect on a grid, choose a comer of the 


attacker's space or the point of origin of an area of effect* 
Then trace imaginary lines from that corner to every 
corner of any one square the target occupies. If one or 
two of those lines are blocked by an obstacle (including 
another creature), the target has half cover. If three or 
four of ihose lines are blocked but the attack can still 
reach the target (such as when the target is behind an 
arrow slit), the target has three-quarters coven 
On hexes, use the same procedure as a grid* drawing 
lines between the corners of the hexagons. The target 
has half cover if up to three lines are blocked by an 
obstacle, and three-quarters cover if four or more lines 
are blocked but the attack can still reach the target. 

Optional Rule: Flanking 

If you regularly use miniatures, flanking gives 
combatants a simple way to gain advantage on attack 
rolls against a common enemy* 

A creature can’t flank an enemy that it can t see, A 
creature also can’t hank while it is incapacitated. A 
Large or larger creature is flanking as long as at least 
one square or hex of its space qualifies for flanking. 
Flanking on Squares. When a creature and at 
least one of its allies are adjacent to an enemy a nd on 
opposite sides or corners of the enemy's space, they 
flank that enemy, and each of them has advantage on 
melee attack roils against that enemy* 

When in doubt about whether two creatures flank 
an enemy on a grid, trace an imaginary line between 
the centers of the creatures’ spaces. If the line passes 
through opposite sides or corners of the enemy’s space, 
the enemy is flanked* 

Flanking on Hexes* When a creature and at least one 
of its allies are adjacent to an enemy and on opposite 
sides of the enemy’s space, they hank that enemy, and 
each of them has advantage on attack rolls against 
that enemy* On hexes, count around the enemy from 
one creature to its ally. Against a Medium or smaller 
creature, the allies flank if there are 2 hexes between 
them. Against a Large creature, the allies flank if there 
are 4 hexes between them* Against a Huge creature, 
they must have 5 hexes between them. Against a 
Gargantuan creature, they must have at least 6 hexes 
between them* 


Flanking {Hexes) 



Half Cover (Hexes) 


Three-Quarters Cover (Hexes) 



G H A PTE RB | UU N N I NO T H E G A M V. 




251 















Optional Rule: Diagonals 

The Player's Handbook presents a simple method for 
counting movement and measuring range on a grid: 
count every square as 5 feet, even if you're moving 
diagonally. Though this is fast in play, it breaks the laws 
of geometry and is inaccurate over long distances. This 
optional rule provides more realism, but it requires 
more effort during combat. 

When measuring range or moving diagonally on a 
grid, the first diagonal square counts as 5 feet, but the 
second diagonal square counts as 10 feet. This pattern 
of 5 feet and then 10 feet continues whenever you're 
counting diagonally, even if you move horizontally or 
vertically between different bits of diagonal movement. 
For example, a character might move one square 
diagonally (5 feet), then three squares straight (15 feet), 
and then another square diagonally (10 feet) for a total 
movement of 30 feet. 

Optional Rule: Facing 

If you want the precision of knowing which way a 
creature is facing* consider using this optional rule. 

Whenever a creature ends its move, it can change its 
facing. Each creature has a front arc (the direction it 
faces), left and right side arcs, and a rear are, A creature 
can also change its facing as a reaction when any other 
creature moves, 

A creature can normally target only creatures in its 
front or side arcs. It can t see into its rear arc. This 
means an attacker in the creature's rear arc makes 
attack rolls against it with advantage. 

Shields apply their bonus to AC only against attacks 
from the front arc or the same side arc as the shield. For 
example, a fighter with a shield on the left arm can use it 
only against attacks from the front and left arcs. 

Feel free to determine that not all creatures have 
every type of arc. For example, an amorphous ochre 
jelly could treat all of its arcs as front ones, while a 
hydra might have three front arcs and one rear one. 

On squares, you pick one side of a creature's space 
as the direction it is facing. Draw a diagonal line 
outward from each corner of this side to determine the 
squares in its front arc. The opposite side of the space 
determines its rear arc in the same way. The remaining 
spaces to either side of the creature form its side arcs. 

On hexes, determining the front, rear, and side arcs 
requires more judgment. Pick one side of the creature s 
space and create a wedge shape expanding out from 
there for the front arc, and another on the opposite side 
of the creature for the rear arc. The remaining spaces to 
either side of the creature are its side arcs, 

9 

A square or hex might be in more than one arc, 
depending on how you draw the lines from a creature's 
space. If more than half of a square or hex lies in one 
arc, it is in that arc. If it is split exactly down the middle, 
use this rule: if half of it lies in the front arc, it's in that 
arc. if half of it is in a side arc and the rear arc, it’s in 
the side arc. 


Adjudicating Reaction Timing 

Typical combatants rely on the opportunity attack 
and the Ready action for most of their reactions in a 
fight. Various spells and features give a creature more 
reaction options, and sometimes the timing of a reacti 
can be difficult to adjudicate. Use this rule of thumb: 
follow whatever timing is specified in the reactions 
description. For example, the opportunity attack and 
the shield spell are clear about the fact that they can 
interrupt their triggers. If a reaction has no timing 
specified, or the timing is unclear, the reaction occurs 
~jer its trigger finishes, as in the Ready action. 



Chases 


Strict application of the movement rules can turn a 
potentially exciting chase into a dull, predictable affair 
Faster creatures always catch up to slower ones, while 
creatures with the same speed never close the distance 
between each other. This set of rules can make chases 
more exciting by introducing random dements. 

Beginning a Chase 

A chase requires a quarry and at least one pursuer. Any 
participants not already in initiative order must roll 
initiative. As in combat, each participant in the chase 
can take one action and move on its turn. The chase 
ends when one side drops out or the quarry escapes. 

When a chase begins, determine the starting 
distance between the quarry and the pursuers. Track 
the distance between them, and designate the pursuer 
closest to the quarry as the lead. The lead pursuer migi 
change from round to round. 

Running the Chase 

Participants in the chase are strongly motivated to use 
the Dash action every round. Pursuers who stop to cas- 
spells and make attacks run the risk of losing their 
quarry, and a quarry that does so is likely to be caught. 

Dashing 

During the chase, a participant can freely use the Dasi 
action a number of times equal to 3 + its Constitution 
modifier. Each additional Dash action it takes during 
the chase requires the creature to succeed on a DC 10 
Constitution check at the end of its turn or gain one lev 
of exhaustion. 

A participant drops out of the chase if its exhaustion 
reaches level 5, since its speed becomes 0, A creature 
can remove the levels of exhaustion it gained during the 
chase by finishing a short or long rest. 

Spells and Attacks 

A chase participant can make attacks and cast spells 
against other creatures within range. Apply the 
normal rules for cover, terrain, and so on to the attacks 
and spells. 

Chase participants can't normally make opportunity 
attacks against each other, since they are all assumed 
to be moving in the same direction at the same time. 


CHAPTE R 8 | R UN \ r t X G T H F. G A \i E 







However, participants can still t: targets of 
opportunity attacks from ere a; - - : nicipating 

in the chase* For example a : : ; rtrs :hase a 

thief past a gang of thugs it _ : provoke 

o pp or t u n i ty at tack s fro m i h t h u. g s, 

Ending a Chase 

A chase ends when one side or the . ther stops, when the 
quarry escapes* or when the pursuers are close enough 
to their quarry to catch it. 

If neither side gives up the chase, the quarry makes a 
Dexterity (Stealth) check at the end of each round, after 
every participant in the chase has taken Its turn. The 
result is compared to the passive Wisdom Perception) 
scores of the pursuers, If the quarry consists of multiple 
creatures* they all make the check* 

If the quarry is never out of the lead pursuer's sight* 
the check fails automatically. Otherwise, If the result of 
the quarry’s check Is greater than the highest passive 
score, that quarry escapes. If not, the chase continues 
for another round. 

The quarry gains advantage or disadvantage on its 
check based on prevailing circumstances, as shown in 
the Escape Factors table. If one or more factors give the 
quarry both advantage and disadvantage on its check, 
the quarry has neither, as usual. 

Escape Factors 

Check Has „. 
Advantage 
Advantage 
Disadvantage 
Disadvantage 
Disadvantage 

proficiency in survival 

Other factors might help or hinder the quarry’s ability 
to escape* at your discretion* For example* a quarry with 
a faerie fire spell cast on it might have disadvantage on 
checks made to escape because it’s much easier to spot. 

Escape doesn't necessarily mean the quarry has 
outpaced its pursuers. For example, in an urban 
setting, escape might mean the quarry ducked into a 
crowd or slipped around a corner, leaving no clue as to 
where it went. 


Factor 

Quarry has many things to hide behind 
Quarry is in a very crowded or noisy area 
Quarry has few things to hide behind 
Quarry is in an uncrowded or quiet area 
The lead pursuer is a ranger or has 


Chase Complications 


As with any good chase scene, complications can arise 
to make a chase more pulse-pounding. The Urban 
Chase Complications table and the Wilderness Chase 
Complications table provide several examples. 

Complications occur randomly. Each participant in 
the chase rolls a d20 at the end of its turn. Consult the 
appropriate table to determine whether a complication 
occurs. If it does, it affects the next chase participant in 
the initiative order, not the participant who rolled the 
die. The participant who rolled the die or the participant 
affected by the complication can spend inspiration to 
negate the complication. 


253 



CHAPTERS I RUNNflNtl T H E G A M E 












Characters can create their own complications to 
shake off pursuers (for example, casting the web spell in 
a narrow alleyway). Adjudicate these as you see fit. 

Urban Chase Complications 

d2G Complication 

1 A large obstacle such as a horse or cart blocks your 
way. Make a DC 15 Dexterity (Acrobatics) check to 
get past the obstacle. On a failed check, the obstacle 
cou nts as 10 feet of d i ffieu It terrain. 

2 A crowd blocks your way. Make a DC 10 Strength 
(Athletics) or Dexterity (Acrobatics) check (your 
choice) to make your way through the crowd 
unimpeded. On a failed check, the crowd counts as 
TO feet of difficult terrain. 

3 A large stained-glass window or similar barrier 
blocks your path. Make a DC 10 Strength saving 
throw to smash through the barrier and keep going. 
On a failed save, you bounce off the barrier and fall 
prone, 

4 A maze of barrels, crates, or similar obstacles stands 
in your way. Make a DC 10 Dexterity (Acrobatics) 

or Intelligence check (your choice) to navigate the 
maze. On a failed check, the maze counts as 10 feet 
of difficult terrain, 

5 The ground beneath your feet is slippery with rain, 
spilled oil, or some other liquid. Make a DC 10 
Dexterity saving throw. On a failed save, you fall 
prone. 

6 You come upon a pack of dogs fighting over food. 
Make a DC 10 Dexterity (Acrobatics) check to get 
through the pack unimpeded, On a failed check, you 
are bitten and take ld4 piercing damage, and the 
dogs count as 5 feet of difficult terrain, 

7 You run into a brawl in progress. Make a DC 15 
Strength (Athletics), Dexterity (Acrobatics), or 
Charisma (Intimidation) check (your choice) to get 
past the brawlers unimpeded. On a failed check, 
you take 2d4 bludgeoning damage, and the brawlers 
count as 10 feet of difficult terrain. 

8 A beggar blocks your way. Make a DC 10 Strength 
(Athletics), Dexterity (Acrobatics), or Charisma 
(Intimidation) check (your choice) to slip past the 
beggar. You succeed automatically if you toss the 
beggar a coin. On a failed check, the beggar counts 
as 5 feet of difficult terrain, 

9 An overzealous guard (see the Monster Manual for 
game statistics) mistakes you for someone else. If 
you move 20 feet or more on your turn, the guard 
makes an opportunity attack against you with a 
spear (+3 to hit; IdG + 1 piercing damage on a hit). 

10 You are forced to make a sharp turn to avoid 
colliding with something impassable. Make a DC 
10 Dexterity saving throw to navigate the turn. On a 
failed save, you collide with something hard and take 
ld4 bludgeoning damage. 

11 “20 No complication. 


Wilderness Chase Complications 

d20 Complication 

1 Your path takes you through a rough patch of brush. 
Make a DC 10 Strength (Athletics) or Dexterity 
(Acrobatics) check (your choice) to get past the 
brush. On a failed check, the brush counts as 5 feet 
of difficult terrain, 

2 Uneven ground threatens to slow your progress. 
Make a DC 10 Dexterity (Acrobatics) check to 
navigate the area. On a failed check, the ground 
counts as 10 feet of difficult terrain, 

3 You run through a swarm of insects (see the Monste r 
Manual for game statistics, with the DM choosing 
whichever kind of insects makes the most sense). 
The swarm makes an opportunity attack against you 
(+3 to hit; 4d4 piercing damage on a hit). 

4 A stream, ravine, or rock bed blocks your path. Make 
a DC 10 Strength (Athletics) or Dexterity (Acrobatics 
check (your choice) to cross the impediment. On a 
failed check, the impediment counts as 10 feet of 
difficult terrain. 

5 Make a DC 10 Constitution saving throw. On a faiier 
save, you are blinded by blowing sand, dirt, ash, 
snow, or pollen until the end of your turn. While 
blinded in th is way, your speed is halved. 

6 A sudden drop catches you by surprise. Make 
a DC 10 Dexterity saving throw to navigate the 
impediment. On a failed save, you fall 1d4 x 5 feet, 
taking 1d6 bludgeoning damage per 10 feet fallen as 
normal, and land prone. 

7 You blunder into a hunter's snare. Make a DC 15 
Dexterity saving throw to avoid it. On a failed save 
you are caught in a net and restrained. See chapter! 
H Equipment,” of the Payer's Handbook for rules on 
escaping a net. 

8 You are caught in a stampede of spooked animals. 
Make a DC 10 Dexterity saving throw. On a 
failed save, you are knocked about and take ld4 
bludgeoning damage and 1d4 piercing damage. 

9 Your path takes you near a patch of razorvine. Make 
a DC 15 Dexterity saving throw or use 10 feet of 
movement (your choice) to avoid the razorvine. O r a 
failed save, you take IdlO slashing damage. 

10 A creature indigenous to the area chases after you. 
The DM chooses a creature appropriate for the 
terrain. 

11-20 No complication. 

Designing Youp Own Chase Tables 

The tables presented here don't work for all possible 
environments. A chase through the sewers of 
Baldur’s Gate or through the spiderweb-filled alleys 
of Menzoberranzan might inspire you to create your 
own table. 

Splitting Up 

Creatures being chased can split up into smaller grour 
This tactic forces pursuers to either divide their forces 


254 


CH A PTER 8 I RUNNING TH E GAM E 




or allow some of the quarry to escape. I fa pursuit 
splits into several smaller chases, resolve each chase 
separately. Run a round of one chase, then a round of 
the next, and so on. tracking the distances for each 
separate group. 

Mapping the Chase 

If you have the opportunity to plan out a chase, take 
the time to draw a rough map that shows the route. 
Insert obstacles at specific points, especially ones that 
require the characters to make ability checks or saving 
throws to avoid slowing or stopping, or use a random 
table of complications similar to the ones in this section. 
Otherwise, improvise as you play. 

Complications can be barriers to progress or 
opportunities for mayhem. Characters being chased 
through a forest by bugbears might spot a wasp nest 
and slow down long enough to attack the nest or throw 
rocks at it, thus creating an obstacle for their pursuers, 

A map of a chase can be linear or have many 
branches, depending on the nature of the chase. For 
example, a mine cart chase might have few (if any) 
branches, while a sewer chase might have several. 

Role Reversal 

During a chase, it's possible for the pursuers to become 
the quarry. For example, characters chasing a thief 
through a marketplace might draw unwanted attention 
from other members of the thieves' guild. As they 
pursue the fleeing thief, they must also evade the thieves 
pursuing them. Roll initiative for the new arrivals, and 
run both chases simultaneously. In another scenario, 
the fleeing thief might run into the waiting arms of his 
accomplices. The outnumbered characters might decide 
to flee with the thieves in pursuit. 

Siege Equipment 

Siege weapons are designed to assail castles and other 
walled fortifications. They see much use in campaigns 
that feature war. Most siege weapons don’t move around 
a battlefield on their own; they require creatures to move 
them, as well as to load, aim, and fire them. 

Ballista 
Large object 

Armor Class: 15 
Hit Points: 50 

Damage Immunities: poison, psychic 

A ballista is a massive crossbow that fires heavy bolts. 
Before it can be fired, it must be loaded and aimed. It 
takes one action to load the weapon, one action to aim it. 
and one action to fire it. 

Bolt Ranged Weapon Attack: +6 to hit, range 120/480 
ft., one target. Hit: 16 (3d 10) piercing damage. 

Cannon 

Large object 

Armor Class: 19 
Hit Points: 75 

Damage Immunities: poison, psychic 


-\ cannon uses gunpowder to propel heavy balls of cast 
iron through the air at destructive speeds. In a campaign 
without gunpowder, a cannon might be an arcane device 
built by clever gnomes or wizardiy engineers. 

A cannon is usually supported in a wooden frame 
with wheels. Before it can be fired, the cannon must 
be loaded and aimed. It takes one action to load the 
weapon, one action to aim it, and one action to fire it. 

Cannon Ball ♦ Ranged Weapon Attack: +6 to 
hit, range 600/2,400 ft., one target. Hit: 44 (8dl0) 
bludgeoning damage. 

Cauldron, Suspended 

Large object 

Armor Class: 19 
Hit Points: 20 

Damage Immunities: poison, psychic 

A cauldron is an iron pot suspended so that it can be 
tipped easily, spilling its contents. Once emptied, a 
cauldron must be refilled—and its contents must usually 
be reheated—before it can be used again. It takes three 
actions to fill a cauldron and one action to tip it. 

Cauldrons can be filled with other liquids, such as 
acid or green slime, with different effects. 

Boiling Oil . The cauldron pours boiling oil onto a 
10-foot-square area directly below it. Any creature in the 
area must make a DC 15 Dexterity saving throw, taking 
10 (3d6) fire damage on a failed save, or half as much 
damage on a successful one. 

Mangonel 
Large object 

Armor Class: 15 
Hit Points: 100 

Damage Immunities: poison, psychic 

A mangonel is a type of catapult that hurls heavy 
projectiles in a high arc. This payload can hit targets 
behind cover. Before the mangonel can be fired, it must 
be loaded and aimed. It takes two actions to load the 
weapon, two actions to aim It, and one action to fire it, 

A mangonel typically hurls a heavy stone, although it 
can hurl other kinds of projectiles, w ith different effects. 
Mangonel Stone * Ranged Weapon Attack: +5 to hit. 
range 200/800 ft. (can’t hit targets within 60 feet of it), 
one target Hit: 27 (5dl0) bludgeoning damage. 

Ram 

Large object 

Armor Class; 15 
Hit Points: 100 

Damage Immunities: poison, psychic 

A ram consists of a movable gallery equipped w ith a 
heavy log suspended from two roof beams by chains. 
The log is shod in iron and used to batter through doors 
and barricades. 

It takes a minimum of four Medium creatures to 
operate a ram. Because of the gallery roof, these 
operators have total cover against attacks from above. 

Ram. Melee l Weapon Attack: +8 to hit, reach 5 ft., one 
object. Hit: 16 (3d 10) bludgeoning damage. 


Ct E A PTFJR 8 I RUNNING TH E GA VI L 








Siege Tower 
Gargantuan object 

Armor Class: 15 
Hit Points: 200 

Damage Immunities: poison, psychic 

A siege tower is a mobile wooden structure with a bear 
frame and slats in its walls. Large wooden wheels or 
rollers allow the tower to be pushed or pulled by soldier- 
or beasts of burden. Medium or smaller creatures can 
use the siege tower to reach the top of walls up to 40 
feet high, A creature in the tower has total cover from 
attacks outside the tower. 

Trebuchet 

Huge object 

Armor Class: 15 
Hit Points: 150 

Damage Immunities: poison, psychic 

A trebuchet is a powerful catapult that throws its 
payload in a high arc. so it can hit targets behind cover. 
Before the trebuchet can be fired, it must be loaded and 
aimed. It takes two actions to load the weapon, two 
actions to aim it, and one action to fire it. 

A trebuchet typically hurls a heavy stone. However, it 
can launch other kinds of projectiles, such as barrels of 
oil or sewage, with different effects. 

Trebuchet Stone, Ranged Weapon Attack: +5 to hit. 
range 300/1,200 ft. (can't hit targets within 60 feet of it 
one target. Hit: 44 (8dl0) bludgeoning damage. 

Diseases 

A plague ravages the kingdom, setting the adventurers 
on a quest to find a cure. An adventurer emerges from 
an ancient tomb, unopened for centuries, and soon 
finds herself suffering from a wasting illness. A warlock 
offends some dark power and contracts a strange 
affliction that spreads whenever he casts spells. 

A simple outbreak might amount to little more than 
a small drain on party resources, curable by a casting 
of lesser restoration. A more complicated outbreak can 
form the basis of one or more adventures as characters 
search for a cure, stop the spread of the disease, and 
deal with the consequences. 

A disease that does more than infect a few party 
members is primarily a plot device. The rules help 
describe the effects of the disease and how it can be 
cured, but the specifics of how a disease works aren't 
bound by a common set of rules. Diseases can affect 
any creature, and a given illness might or might not 
pass from one race or kind of creature to another. A 
plague might affect only constructs or undead, or sweep 
through a halfling neighborhood but leave other races 
untouched. What matters is the story you want to tell 

Sample Diseases _ 

The diseases here illustrate the variety of ways disease 
can work in the game. Feel free to alter the saving 
throw DCs, incubation times, symptoms, and other 
characteristics of these diseases to suit your campaign. 






























C\CKLE Fever 

“ is disease targets humanoids, although gnomes are 
sirangely immune. While in the grips of this disease* 
jetims frequently succumb to fits of mad laughter. 

: ving the disease its common name and its morbid 
kname: "‘the shrieks. 1 ’ 

5 ymptoms mani fest 1 d4 hou rs after infection ancl 
include fever and disorientation. The infected creature 
rains one level of exhaustion that can't be removed until 
the disease is cured. 

Any event that causes the infected creature great 
-Tess—including entering combat, taking damage* 
experiencing fear, or having a nightmare —forces the 
rreature to make a DC 13 Constitution saving throw. 

On a failed save, the creature takes 5 (Id 10) psychic 
: a mage and becomes incapacitated with mad laughter 
for 1 minute. The creature can repeat the saving throw 
:n the end of each of its turns, ending the mad laughter 
and the incapacitated condition on a success. 

Any humanoid creature that starts its turn within 10 
feet of an infected creature in the throes of mad laughter 
must succeed on a DC 10 Constitution saving throw or 
iso become infected with the disease* Once a creature 
succeeds on this save* it is immune to the mad laughter 
u that particular infected creature for 24 hours. 

At the end of each long rest, an infected creature 
an make a DC 13 Constitution saving throw* On a 
successful save, the DC for this save and tor the save to 
avoid an attack of mad laughter drops by Id6. When the 
saving throw DC drops to 0, the creature recovers from 
he disease. A creature that fails three of these saving 
throws gains a randomly determined form of indefinite 
madness* as described later in this chapter. 

Sewer Plague 

Sewer plague is a generic term for a broad category 
of illnesses that incubate in sewers, refuse heaps, 
and stagnant swamps, and which are sometimes 
transmitted by creatures that dwell in those areas, such 
as rats and otyughs. 

When a humanoid creature is bitten by a creature that 
carries the disease* or when it comes into contact with 
filth or offal contaminated by the disease* the creature 
must succeed on a DC 11 Constitution saving throw or 
become infected. 

it takes 1 d4 days for sewer plague's symptoms to 
manifest in an infected creature. Symptoms include 
fatigue and cramps. The infected creature suffers one 
level of exhaustion, and it regains only half the normal 
number of hit points from spending Hit Dice and no hit 
points from finishing a long rest. 

At the end of each long rest, an infected creature 
must make a DC 11 Constitution saving throw. On a 
failed save, the character gains one level of exhaustion* 
On a successful save, the character s exhaustion level 
decreases by one level. If a successful saving throw 
reduces the infected creatures level of exhaustion below 
1* the creature recovers from the disease* 

Sight Rot 

This painful infection causes bleeding from the eyes and 
eventually blinds the victim* 


A beast or humanoid that drinks water tainted by 
sight rot must succeed on a DC 15 Constitution saving 
throw or become infected. One day after infection, the 
creature's vision starts to become blurry. The creature 
takes a -1 penalty to attack rolls and ability checks 
that relv on sight. At the end of each long rest after the 
symptoms appear, the penalty worsens by L When 
it reaches-5, the victim is blinded until its sight is 
restored by magic such as lesser restoration or heal. 

Sight rot can be cured using a rare flower called 
Eyebright, which grows in some swamps* Given an hour, 
a character who has proficiency with an herbalism kit 
can turn the flower into one dose of ointment* Applied 
to the eyes before a long rest, one dose of it prevents 
the disease from worsening after that rest. After three 
doses, the ointment cures the disease entirely. 

Poisons 

Given their insidious and deadly nature* poisons are 
illegal in most societies but are a favorite tool among 
assassins, drew, and other evil creatures* 

Poisons come in the following four types. 

Contact A creature that touches contact poison with 
exposed skin suffers its effects* 

Ingested* A creature must swallow an entire dose of 
ingested poison to suffer its effects. You might decide 
that a partial dose has a reduced effect* such as allowing 
advantage on the saving throw or dealing only half 
damage on a failed save* 

Inhaled. These poisons are powders or gases that 
take effect when they are inhaled. A single dose fills a 
5Toot cube* 

Iryury. A creature that takes slashing or piercing 
damage from a weapon or piece of ammunition coated 
with injury poison is exposed to its effects. 


Poisons 


Item 

Type 

Price per Dose 

Assassin's blood 

Ingested 

150 gp 

Burnt othur fumes 

Inhaled 

500 gp 

Carrion crawler mucus 

Contact 

200 gp 

Drew poison 

Injury 

200 gp 

Essence of ether 

Inhaled 

300 gp 

Malice 

Inhaled 

250 gp 

Midnight tears 

Ingested 

1.500 gp 

Oil of taggit 

Contact 

400 gp 

Pale tincture 

Ingested 

250 gp 

Purple worm poison 

Injury 

2,000 gp 

Serpent venom 

Injury 

200 gp 

Torpor 

Ingested 

600 gp 

Truth serum 

Ingested 

150 gp 

Wyvern poison 

Injury 

1.200 gp 


Sample Poisons _ 

Each type of poison has its own debilitating effects* 
Assassin's Blood (Ingested). A creature subjected 
to this poison must make a DC 10 Constitution saving 
throw. On a failed save, it takes 6 (Idl 2) poison damage 


C, HA PTE RS l It U N N I N G TH E GAME 










































and is poisoned for 24 hours. On a successful save, the 
creature takes half damage and isn’t poisoned. 

Burnt Othur Fumes (Inhaled). A creature subjected 
to this poison must succeed on a DC 13 Constitution 
saving throw or take 10 (3d6) poison damage, and must 
repeat the saving throw at the start of each of its turns. 
On each successive failed save, the character takes 3 
(kI6) poison damage. After three successful saves, the 
poison ends, 

Carrion Crawler Mucus (Contact). This poison 
must be harvested from a dead or incapacitated 
carrion crawler. A creature subjected to this poison 
must succeed on a DC 13 Constitution saving throw 
or be poisoned for 1 minute. The poisoned creature is 
paralyzed. The creature can repeat the saving throw at 
the end of each of its turns, ending the effect on itself on 
a success. 

DrowPoison (Injury). This poison is typically made 
only by the drow t and only in a place far removed from 
sunlight. A creature subjected to this poison must 
succeed on a DC 13 Constitution saving thrower be 
poisoned for 1 hour. If the saving throw fails by 5 or 
more, the creature is also unconscious while poisoned 
in this way. The creature wakes up if it takes damage or 
if another creature takes an action to shake it awake. 

jBssence of Ether (Inhaled). A creature subjected 
to this poison must succeed on a DC 15 Constitution 
saving throw or become poisoned for 8 hours. The 
poisoned creature is unconscious. The creature wakes 
up i fit takes damage or if another creature takes an 
action to shake it awake. 

Malice (Inhaled). A creature subjected to this poison 
must succeed on a DC 15 Constitution saving throw 
or become poisoned for 1 hour. The poisoned creature 
is blinded. 

Midnight Tears (Ingested). A creature that ingests 
this poison suffers no effect until the stroke of midnight 
If the poison has not been neutralized before then, the 
creature must succeed on a DC 17 Constitution saving 
throw, taking 31 (9d6) poison damage on a failed save, 
or half as much damage on a successful one. 

Oil of Taggit (Contact) L A creature subjected to this 
poison must succeed on a DC 13 Constitution saving 
throw or become poisoned for 24 hours. The poisoned 
creature is unconscious. The creature wakes up if it 
takes damage. 

Pale Tincture (Ingested). A creature subjected to this 
poison must succeed on a DC 16 Constitution saving 
throw or take 3 (ld6) poison damage and become 
poisoned. The poisoned creature must repeat the saving 
throw every 24 hours, taking 3 (ld6) poison damage 
on a failed save. Until this poison ends, the damage 
the poison deals can t be healed by any means. After 
seven successful saving throws, the effect ends and the 
c re atu re can hea I n or m a 1 ly. 

Purple Worm Poison (Injury). This poison must be 
harvested from a dead or incapacitated purple worm. 

A creature subjected to this poison must make a 3 )C 
19 Constitution saving throw, taking 42 (12d6) poison 
damage on a failed save, or half as much damage on a 
successful one. 


Serpent Venom (Injury). This poison must be 
harvested from a dead or incapacitated giant poisonous 
snake. A creature subjected to this poison must succeed 
on a DC 11 Constitution saving throw, taking 10 (3d6) 
poison damage on a failed save, or half as much da mag- 
on a successful one. 

Torpor (Ingested). A creature subjected to this poise, r 
must succeed on a DC 15 Constitution saving throw' or 
become poisoned for 4d6 hours. The poisoned creature 
is incapacitated. 

Truth Serum (Ingested). A creature subjected to this 
poison must succeed on a DC 11 Constitution saving 
throw or become poisoned for 1 hour. The poisoned 
creature can't knowingly speak a lie, as if under the 
effect of a zone of truth spell. 

Wyvern Poison (Injury). This poison must be 
harvested from a dead or incapacitated wyvern. A 
creature subjected to this poison must make a DC 
15 Constitution saving throw, taking 24 (7d6) poison 
damage on a failed save, or half as much damage on a 
successful one. 

Purchasing Poison _ 

In some settings, strict laws prohibit the possession 
and use of poison, but a black-market dealer or 
unscrupulous apothecary might keep a hidden stash. 
Characters with criminal contacts might be able to 
acquire poison relatively easily. Other characters might 
have to make extensive inquiries and pay bribes before 
they track down the poison they seek. 

The Poisons table gives suggested prices for single 
doses of various poisons. 

Crafting and Harvesting Poison 

During downtime between adventures, a character 
can use the crafting rules in the Players Handbook to 
create basic poison if the character has proficiency with 
a poisoner s kit. At your discretion, the character can 
craft other kinds of poison. Not all poison ingredients 
are available for purchase, and tracking down certain 
ingredients might form the basis of an entire adventure. 

A character can instead attempt to harvest poison 
from a poisonous creature, such as a snake, wyvern, or 
carrion crawler. The creature must be incapacitated or 
dead, and the harvesting requires ld6 minutes followed 
by a DC 20 Intelligence (Nature) check. (Proficiency 
with the poisoner's kit applies to this check if the 
character doesn't have proficiency in Nature.) On a 
successful check, the character harvests enough poison 
for a single dose. On a failed check, the character is 
unable to extract any poison. If the character fails the 
check by 5 or more, the character is subjected to the 
creatures poison. 

Madness 

In a typical campaign, characters aren’t driven mad 
by the horrors they face and the carnage they inflict 
day after day, but sometimes the stress of being an 
adventurer can be too much to bear. If your campaign 
has a strong horror theme, you might want to use 
madness as a way to reinforce that theme, emphasizing 


CHAPTLft 8 I RI.■ NN1 NO THVi GAME 












the extraordinarily horrific nature of the threats the 
adventurers face. 


Going Mad 


Various magical effects can inflict madness on an 
otherwise stable mind. Certain spells, such as contact 
other plane and symbol, can cause insanity, and you can 
use the madness rules here instead of the spell effects 
in the Players Handbook Diseases, poisons, and planar 
effects such as psychic wind or the howling winds of 
Pandemonium can all inflict madness. Some artifacts 
can also break the psyche of a character who uses or 
becomes attuned to them. 

Resisting a madness inducing effect usually requires 
a Wisdom or Charisma saving throw. If your game 
includes the Sanity score (see chapter 9, ^Dungeon 
Master’s Workshop”), a creature makes a Sanity saving 
throw instead. 

Madness Effects 

Madness can be short-term, long-term, or indefinite. 
Most relatively mundane effects impose short-term 
madness, which lasts for just a few minutes. More 
horrific effects or cumulative effects can result in long¬ 
term or indefinite madness. 

A character afflicted with short-term madness is 
subjected to an effect from the Short-Term Madness 
table for Id 10 minutes. 

A character afflicted with long-term madness is 
subjected to an effect from the Long-Term Madness 
table for Id 10 x 10 hours, 

A character afflicted with indefinite madness gains 
a new character flaw from the Indefinite Madness table 
that lasts until cured. 

Short-Term Madness 

d 100 Effect (lasts IdTO minutes) 

01-20 The character retreats into his or her mind and 

becomes paralyzed. The effect ends if the character 
takes any damage, 

21-30 The character becomes incapacitated and spends 
the duration screaming, laughing, or weeping. 

31-40 The character becomes frightened and must use 
his or her action and movement each round to flee 
from the source of the fear. 

41-50 The character begins babbling and is incapable of 
normal speech or spellcasting, 

51-60 The character must use his or her action each 
round to attack the nearest creature. 

61-70 The character experiences vivid hallucinations and 
has disadvantage on ability checks. 

71-75 The character does whatever anyone tells him or 
her to do that isn't obviously self-destruct ve. 

76-80 The character experiences an overpower ng urge to 
eat something strange such as dir: s! me, or offal. 
81-90 The character is stunned. 

91-100 The character falls unconscious 




































Long-Term Madness 

dlQO Effect (lasts tdIO x10 hours) 

01-10 The character feels compelled to repeat a specific 
activity over and over, such as washing hands, 
touching things, praying, or counting coins. 

11-20 The character experiences vivid hallucinations and 
has disadvantage on ability checks, 

21-30 The character suffers extreme paranoia. The 
character has disadvantage on Wisdom and 
Charisma checks, 

31-40 The character regards something (usually the 

source of madness} with intense revulsion, as if 
affected by the antipathy effect of the antipathy/ 
sympathy spell 

41-45 The character experiences a powerful delusion. 

Choose a potion. The character imagines that he or 
she is under its effects. 

46-55 The character becomes attached to a 'lucky 

charm," such as a person or an object, and has 
disadvantage on attack rolls, ability checks, and 
saving throws while more than 30 feet from it. 

56-65 The character is blinded (25%) or deafened (75%). 

66-75 The character experiences uncontrollable tremors 
or tics, which impose disadvantage on attack 
rolls, ability checks, and saving throws that involve 
Strength or Dexterity. 

76-S5 The character suffers from partial amnesia. The 

character knows who he or she is and retains racial 
traits and class features, but doesn't recognize 
other people or remember anything that happened 
before the madness took effect 

S6-90 Whenever the character takes damage, he or she 
must succeed on a DC 15 Wisdom saving throw 
or be affected as though he or she failed a saving 
throw against the confusion spell. The confusion 
effect lasts for 1 minute, 

91-95 The character loses the ability to speak. 

96-100 The character falls unconscious. No amount of 
jostling or damage can wake the character. 

Curing Madness _ 

A calm emotions spell can suppress the effects of 
madness, while a lesser restoration spell can rid 
a character of a short-term or long-term madness. 
Depending on the source of the madness* remove 
curse or dispel evil might also prove effective. A greater 
restoration spell or more powerful magic is required to 
rid a character of indefinite madness. 

Experience Points 

Experience points (XP) fuel level advancement for 
player characters and are most often the reward for 
completing combat encounters. 

Each monster has an XP value based on its 
challenge rating. When adventurers defeat one or more 
monsters—typically by killing, routing, or capturing 


Indefinite Madness 

d 100 Flaw (lasts until cured) 

01-15 "Being drunk keeps me sane." 

16-25 "3 keep whatever I find.” 

26-30 "I try to become more like someone else I know— 
adopting his or her style of dress, mannerisms, 
and name." 

31-35 "1 must bend the truth, exaggerate, or outright lie 

to be interesting to other people;" 

36-45 "Achieving my goal is the only thing of interest to 
me, and 111 ignore everything else to pursue it.’ 1 

46-50 "I find it hard to care about anything that goes on 
around me.” 

51-55 "I don’t like the way people judge me ail the time." 

56-70 "1 am the smartest, wisest, strongest, fastest, and 

most beautiful person I know." 

71-80 "I am convinced that powerful enemies are hunting 
me, and their agents are everywhere I go, I am sur; 
they're watching me all the time.” 

81-S5 “There's only one person I can trust. And only I ca^ 
see this special friend." 

S6-95 “I can't take anything seriously. The more serious 
the situation, the funnier I find It." 

96-100 ‘Tve discovered that I really like killing people." 

■ 

them—they divide the total XP value of the monsters 
evenly among themselves. If the party received 
substantial assistance from one or more NPCs, count 
those NPCs as parly members when dividing up the 
XP. (Because the NPCs made the fight easier, individual 
characters receive fewer XP.) 

Chapter 3, "Creating Adventures/' provides 
guidelines for designing combat encounters using 
experience points. 

Absent Characters 

Typically, adventurers earn experience only for 
encounters they participate in. If a player is absent 
for a session, the player's character misses out on the 
experience points* 

Over time* you might end up with a level gap between 
the characters of players who never miss a session and 
characters belonging to players who are more sporadic 
in their attendance. Nothing is wrong with that. A gap 
of two or three levels between different characters in 
the same party isn't going to ruin the game for anyone* 
Some DMs treat XP as a reward for participating in 
the game, and keeping up with the rest of the party is 
good incentive for players to attend as many sessions 
as possible. 

As an alternative* give absent characters the same 
XP that the other characters earned each session, 
keeping the group at the same level* Few players 
will intentionally miss out on the fun of gaming just 
because they know they'll receive XP for it even if they 
don't show up. 


C11APTER 8 I RU NN1NC THF, GAM£ 


















* The adventurers gain the benefit of a short rest. 

* Characters can recover a Hit Die or a low-level 
spell slot. 

* Characters can regain the use of magic items that 
have had their limited uses expended. 


Level Advancement without XP 


2 b 


You can also award XP when characters complete 
significant milestones. When preparing your adventure, 
designate certain events or challenges as milestones, as 
with the following examples: 

* Accomplishing one in a series of goals necessary to 
complete the adventu re. 

* Discovering a hidden location or piece of information 
relevant to the adventure. 

< Reaching an important destination. 


When awarding XP, treat a major milestone as a hard 
encounter and a minor milestone as an easy encounter. 

If you want to reward your players for their progress 
through an adventure with something more than XP 
and treasure, give them additional small rewards at 
milestone points. Here are some examples: 


You can do away with experience points entirely and 
control the rate of character advancement* Advance 
characters based on how many sessions they play, or 
when they accomplish significant story goals in the 
campaign. In either case, you tell the players when their 
characters gain a level. 

This method of level advancement can be particularly 
helpful if your campaign doesn' t include much 
combat, or includes so much combat that tracking XP 
becomes tiresome. 


Session-Based Advancement 
A good rate of session-based advancement is to have 
characters reach 2nd level after the first session of play. 
3rd level after another session, and 4th level after two 
more sessions. Then spend two or three sessions for 
each subsequent level. This rate mirrors the standard 
rate of advancement, assuming sessions are about four 
hours long. 


Noncombat Challenges 

i 

You decide whether to award experience to characters 
for overcoming challenges outside combat. If the 
adventurers complete a tense l _ Nation with a baron, 
forge a trade agreement with a dan of surly dwarves, 
or successfully navigate the Chasm of Doom, you might 
decide that they deserve an XP reward. 

As a starting point, use the rules for building combat 
encounters In chapter 3 to gauge the difficulty of the 
challenge. Then award the characters XP as if it had 
been a combat encounter of the same difficulty, but only 
if the encounter involved a meaningful risk of failure. 

Milestones 


Story- Based Advancement 

When you let the story of the campaign drive 
advancements you award levels when adventurers 
accomplish significant goals in the campaign. 


C T-l A PTE k a I IUJ N NI NO TH E O AM K 






















































Chapter 9: Dungeon Master s Workshop 


s the Dungeon Master, you aren't limited 
by the rules in the Player's Handbook t the 
guidelines in this book, or the selection of 
monsters in the Monster Manual You can 
let your imagination run wild. This chapter 
contains optional rules that you can use to 
customize your campaign, as well as guidelines on 
creating your own material, such as monsters and 
magic items. 

The options in this chapter relate to many different 
parts of the game. Some of them are variants of 
rules, and others are entirely new rules. Each option 
represents a different genre, style of play, or both. 
Consider trying no more than one or two of the options 
at a time so that you can clearly assess their effects on 
your campaign before adding other options. 

Before you add a new rule to your campaign, ask 
yourself two questions: 

* Will the rule improve the game? 

* Wi 11 my p 1 ayers like it? 


If you're confident that the answer to both questions is 
yes. then you have nothing to lose by giving it a try. Urge 
your players to provide feedback. If the rule or game 
element isn’t functioning as intended or isn't adding 
much to your game, you can refine it or ditch it. No 
matter what a rule’s source, a rule serves you. not the 
other way around. 

Beware of adding anything to your game that allows 
a character to concentrate on more than one effect at 
a time, use more than one reaction or bonus action 
per round, or attune to more than three magic items 
at a time. Rules and game elements that override the 
rules for concentration, reactions, bonus actions, and 
magic item attunement can seriously unbalance or 
ove rc o m p I i cate yo u r ga me. 


Ability Options 

The optional rules in this section pertain to using 
ability scores. 


Proficiency Dice _ 

This optional rule replaces a character's proficiency 
bonus with a proficiency die, adding more randomness 
to the game and making proficiency a less reliable 
indicator of mastery. I nstead of adding a proficiency 
bonus to an ability check, an attack roll, or saving throw, 
the characters player rolls a die. The Proficiency Die 
table shows which die or dice to roll, as determined by 
the character s level. 

Whenever a feature, such as the rogue's Expertise, 
lets a character double his or her proficiency bonus, 
the player rolls the character's proficiency die twice 
instead of once. 

This option is intended for player characters and 
nonplayer characters who have levels, as opposed to 
monsters who don't. 


Proficiency Die 


Level 

Proficiency Bonus 

Proficiency Die 

1 st-4th 


1d4 

Sth—Sth 

+3 

ld6 

9th—12th 

h-4 

ids 

13th—16th 

+5 

IdlO 

17th-20th 

+6 

ld!2 


Skill Variants 


A skill dictates the circumstances under which a 
character can add his or her proficiency bonus to an 
ability check. Skills define those circumstances by 
referring to different aspects of the six ability scores. 

For example. Acrobatics and Stealth are two different 
aspects of Dexterity, and a character can specialize in 
either or both. 

You can dispense w ith skills and use one of the 
following variants. Choose whichever one best suits 
your campaign. 

Ability Check Proficiency 

With this variant rule, characters don't have skill 
proficiencies. Instead, each character has proficiency 
in two abilities: one tied to the character’s class and 
one tied to the character's background. The Ability 
Proficiencies by Class table suggests a proficiency for 
each class, and you choose which ability is tied to a 
given background. Starting at 1st level, a character adds 
his or her proficiency bonus to any ability check tied to 
one or the other of these two abilities. 


Ability Check Proficiencies by Class 


Gass 

Barbarian 

Bard 

Cleric 

Druid 

Fighter 

Monk 

Paladin 

Ranger 

Rogue 

Sorcerer 

Warlock 

Wizard 


Ability Check 

Strength, Dexterity, or Wisdom 
Any one 

Intelligence, Wisdom, or Charisma 

Intelligence or Wisdom 

Strength, Dexterity, or Wisdom 

Strength, Dexterity, or Intelligence 

Strength, Wisdom, or Charisma 

Strength, Dexterity, or Wisdom 

Dexterity, Intelligence, Wisdom, or Charisma 

Intelligence or Charisma 

Intelligence or Charisma 

Intelligence or Wisdom 


The Expertise feature works differently than normal 
under this rule. At 1st level, instead of choosing two 
skill proficiencies, a character with the Expertise class 
feature chooses one of the abilities in which he or she 
has proficiency. Selecting an ability counts as two 
of tbe character s Expertise choices. If the character 
would gain an additional skill proficiency, that character 
instead selects another ability check in which to gain 
proficiency. 


<: :: AFTER 9 I DU K GEON MASTER'S WORKSHOP 






















This option removes skills from the game and 
doesn't allow for much distinction among characters. 

For example, a character cant choose to emphasize 
persuasion or intimidation; he or she is equally 
adept at both. 

Background Proficiency 
With this variant rule, characters don't have skill or tool 
proficiencies. Anything that would grant the character 
a skill or tool proficiency provides no benefit. Instead, 
a character can add his or her proficiency bonus to any 
ability check to which the character's prior training and 
experience (reflected in the characters background) 
reasonably applies. The DM is the ultimate judge of 
whether the character's background applies. 

For example, the player of a character with the noble 
background could reasonably argue that the proficiency 
bonus should apply to a Charisma check the character 
makes to secure an audience with the king. The player 
should be encouraged to explain in specific terms how 
(he character’s background applies. Not simply Tm 
a noble,'' but "1 spent three years before starting my 
adventuring career serving as my family's ambassador 
to the court, and this sort of thing is second nature 
to me now," 

This simple system relies heavily on players 
developing their characters' histories. Don’t let it 
result in endless debates about whether a character's 
proficiency bonus applies in a given situation. Unless 
a player’s attempt to explain the relevance of the 
character's background makes everyone else at the table 
roll their eyes at its absurdity, go ahead and reward the 
player for making the effort. 

If a character has the Expertise feature, instead 
of choosing skills and tools to gain the benefit of 
that feature, the player defines aspects of his or her 
background to which the benefit applies. Continuing 
the noble example, the player might decide to apply 
Expertise to ‘ situations where courtly manners and 
etiquette are paramount” and ‘figuring out the secret 
plots that court members hatch against one another." 

Personality Trait Proficiency 
W ith this variant rule, characters don’t have skill 
proficiencies. Instead, a character can add his or her 
proficiency bonus to any ability check directly related to 
the character's positive personality traits. For example, 
a character with a positive personality trait of “I never 
have a plan, but I’m great at making things up as ! go 
along” might apply the bonus when engaging in some 
off-the-cuff deception to get out of a tight spot. A player 
should come up with at least four positive personality 
traits when creating a character. 

When a character's negative personality trait directly 
impacts an ability check, the character has disadvantage 
on the check. For example, a hermit whose negative 
trait is “1 often get lost in my own thoughts and 
contemplation, oblivious to my surroundings” might 
have disadvantage on an ability check made to notice 
creatures sneaking up. 

If a character has the Expertise feature, the player can 
apply its benefit to personality traits related to ability 


checks, instead of to skills or tools. If a character would 
gain a new skill or tool proficiency, the character instead 
gains a new positive personality trait. 

This system relies heavily on players developing 
their characters’ personalities. Make sure that different 
characters' traits—positive and negative—come into pla> 
with about the same frequency. Don't let a player get 
away with a positive trait that always seems to apply and 
a negative trait that never does. 

At your discretion, you can also tie a character s 
ideals, bonds, and (laws to this system. 

Hero Points 

Hero points work well in epic fantasy and mythic 
campaigns in which the characters arc meant to be 
more like superheroes than the average adventurer is. 

With this option, a character starts with 5 hero points 
at 1st level. Each time the character gains a level* he or 
she loses any unspent hero points and gains a new torn! 
equal to 5 + half the character's level. 

A player can spend a hero point whenever he or she 
makes an attack roll, an ability check, or a saving throw 
The player can spend the hero point after the roll is 
made but before any of its results are applied. Spending 
the hero point allows the player to roll a d6 and add it 
to the d2Q. possibly turning a failure into a success. A 
player can spend only 1 hero point per roll. 

In addition, whenever a character fails a death saving 
throw, the player can spend one hero point to turn the 
failure into a success. 

New Ability Scores: 

Honor and Sanity 

If you're running a campaign shaped by a strict code c 
honor or the constant risk of insanity, consider add It _ 
one or both these new ability scores: Honor and Sanity. 
These abilities function like the standard six abilities 
with exceptions specified In each ability below. 

Here's how to incorporate these optional abilities at 
character creation: 

- I f y ou r p 1 aye rs use t h e s t a n d a rd a it ay of ability 
scores, add one 11 to the array for each optional 
ability you add. 

* I f you r p 1 aye rs u se the op t i on a I po i n t-b uy sy s te m. a d c 
3 points to the number of points for each optional 
ability you add. 

* If your players roll their ability scores, have them roll 
for the added ability scores. 

If you ever need to make a check or saving throw for 
Honor or Sanity for a monster that lacks the score* you 
can use Charisma for Honor and Wisdom for Sanity, 

Honor Score 

ff your campaign involves cultures where a rigid code 
of honor is part of daily life, consider using the Honor 
score as a means of measuring a character's devotion 
to that code. Phis ability fits well in a setting inspired 
by Asian cultures, such as Kara-Tur in the Forgotten 
Realms. The Honor ability is also useful in any 
campaign that revolves around orders of knights. 


CH AFTLR 9 ! DUN CROW M.\SThk‘S WORKSHOP 







Honor measures not only a characters devotion to a 
code but also the character's understanding of it. The 
Honor score can also reflect how others perceive a 
character’s honor. A character with a high Honor usually 
has a reputation that others know about, especially 
those who have high Honor scores themselves. 

Unlike other abilities. Honor can't be raised with 
normal ability score increases. Instead, you can award 
increases to Honor—or impose reductions—based on 
a character’s actions. At the end of an adventure, if you 
think a character's actions in the adventure reflected 
well or poorly on his or her understanding of the code, 
you can increase or decrease the character’s Honor by 
1. As with other ability scores, a character’s Honor can't 
exceed 20 or fall below 1, 

Honor Checks. Honor checks can be used in social 
situations, much as Charisma would, when a characters 
understanding of a code of conduct is the most defining 
factor in the way a social interaction will play out. 

You might also call for an Honor check when a 
character is in one of the following situations; 

* Being unsure how to act with honor 

* Su rrenderi ng whi !e t ryi ng to save face 

» Trying to determine another character's Honor score 

* Trying to use the proper etiquette in a delicate 
social situation 

* Using his or her honorable or dishonorable reputation 
to influence someone else 

Honor Saving Throws. An Honor saving throw 
comes into play when you want to determine whether 
a character might inadvertently do something 
dishonorable. You might call for an Honor saving throw 
In the following situations; 

- Avoiding an accidental breach of honor or etiquette 
+ Resisting the urge to respond to goading or insults 

from an enemy 

* Recognizing when an enemy attempts to trick a 
character into a breach of honor 

Sanity Score 

Consider using the Sanity score if your campaign 
revolves around entities of an utterly alien and 
unspeakable nature, such as Great Cthulhu, whose 
powers and minions can shatter a character s mind. 

A character with a high Sanity is level-headed even in 
the face of insane circumstances, while a character with 
low Sanity is unsteady, breaking easily when confronted 
by eldritch horrors that are beyond normal reason. 
Sanity Checks* You might ask characters to make a 
Sanity check in place of an Intelligence check to recall 
tore about the alien creatures of madness featured 
in your campaign, to decipher the writings of raving 
lunatics, or to learn spells from tomes of forbidden lore. 
You might also call for a Sanity check when a character 
tries one of the follow-iog activities; 

* Deciphering a piece of text written in a language so 
alien that it threatens to break a character's mind 

- Overcoming the lingering effects of madness 

* Comprehending a piece of alien magic foreign to all 
normal understanding of magic 


Sanity Saving Throws. You might call for a Sanity 
saving throw when a character runs the risk of 
succumbing to madness, such as in the following 
situations: 

- Seeing a creature from the Far Realm or other alien 
realms for the first time 

* Making direct contact with the mind of an 
alien creature 

- Being subjected to spells that affect mental stability, 
such as the insanity option of the symbol spell 

* Passing through a demiplane built on alien physics 

* Resisting an effect conferred by an attack or spell that 
deals psychic damage 



2G5 



OH A PT E R 9 I DUN C L U N M A STER'S WQRKSH O P 











£66 


CHAPTER 9 I DUNGEON MASTER'S WORKSHOP 



A failed Sanity save might result in short-term, long¬ 
term, or indefinite madness, as described in chapter 8, 
“Running the Game/ Any time a character suffers Iron 
long-term or indefinite madness, the character's Sanity 
is reduced by 1. A greater restoration spell can restore 
Sanity lost in this way, and a character can increase his 
or her Sanity through level advancement. 

Adventuring Options 

This section provides options for changing how rests 
work,, as well as for adding unusual things to your 
campaign, such as modern weapons. 

Fear and Horror 

The rules for fear and horror can help you sustain an 
atmosphere of dread in a dark fantasy campaign. 


Fear 

When adventurers confront threats they have no 
hope of overcoming, you can call for them to make a 
Wisdom saving throw. Set the DC according to the 
circumstances, A character who fails the save becomes 
frightened for 1 minute. The character can repeat the 
saving throw at the end of each of his or her turns, 
ending the effect on the character on a successful save. 


Horror 


Horror involves more than simple fright, ft entails 
revulsion and anguish. Often it arises when adventurer- 
see something completely contrary to the common 
understanding of what can and should occur in the 
world, or upon the realization of a dreadful truth, 
in such a situation you can call on characters to mak- 
a Charisma saving throw to resist the horror. Set the DC 
based on the magnitude of the horrific circumstances. 
On a failed save, a character gains a short-term or long¬ 
term form of madness that you choose or determine 
randomly, as detailed in chapter 8, "Running the Game," 

Healing _ 

These optional rules make it easier or harder for 
adventurers to recover from injury, either increasing 
or reducing the amount of time your players can spend 
adventuring before rest is required. 

Healer’s Kit Dependency 

A character can t spend any I lit Dice after finishing a 
short rest until someone expends one use of a healer's 
kit to bandage and treat the character's wounds. 

Healing Surges 

This optional rule allows characters to heal up in 
the thick of combat and works well for parties that 
feature few or no characters with healing magic, or for 
campaigns in which magical healing is rare. 

As an action, a character can use a healing surge and 
spend up to half his or her Hit Dice. For each Hit Die 
spent in this way, the player rolls the die and adds the 
characters Constitution modifier. The character regains 
hit points equal to the total. The player can decide to 
spend an additional Hit Die after each roll. 




























A character who uses a healing surge can't do so 
again until he or she finishes a short or long rest. 

Under this optional rule, a character regains all spent 
Hit Dice at the end of a long rest. With a short rest, 
a character regains Hit Dice equal to his or her level 
divided by four (minimum of one die). 

For a more superheroic feel, you can let a character 
use a healing surge as a bonus action, rather than as 
an action. 

Slow Natural Healing 
Characters don't regain hit points at the end of a long 
rest. Instead, a character can spend Hit Dice to heal at 
the end of a long rest, just as with a short rest. 

This optional rule prolongs the amount of time that 
characters need to recover from their wounds without 
the benefits of magical healing and works well for 
grittier, more realistic campaigns. 

Rest Variants 

The rules for short and long rests presented in chapter 
8 of the Player's Handbook work well for a heroic-style 
campaign. Characters can go toe-to-toe with deadly foes, 
take damage to within an inch of their lives, yet still be 
ready to fight again the next day. If this approach doesn't 
fit your campaign, consider the following variants. 

Epic Heroism 

This variant uses a short rest of 5 minutes and a long 
rest of I hour. This change makes combat more routine, 
since characters can easily recover from every battle. 
You might want to make combat encounters more 
difficult to compensate. 

Spellcasters using this system can afford to burn 
through spell slots quickly, especially at higher levels. 
Consider allowing spellcasters to restore expended 
spell slots equal to only half their maximum spell slots 
(rounded down) at the end of a long rest, and to limit 
spell slots restored to 5th level or lower. Only a full 
8-hour rest will allow a spellcaster to restore all spell 
slots and to regain spell slots of 6th level or higher. 

Gritty Realism 

This variant uses a short rest of 8 hours and a long 
rest of 7 days. This puts the brakes on the campaign, 
requiring the players to carefully judge the benefits 
and drawbacks of combat. Characters can't afford to 
engage in too many battles in a row. and all adventuring 
requires careful planning. 

This approach encourages the characters to 
spend time out of the dungeon. It's a good option for 
campaigns that emphasize intrigue, politics, and 
interactions among other NPCs. and in which combat is 
rare or something to be avoided rather than rushed into. 

Firearms 

If you want to model the swashbuckling style of 
The Three Musketeers and similar tales, you can 
introduce gunpowder weapons to your campaign that 
are associated w r ith the Renaissance. Similarly, in a 
campaign where a spaceship has rashed or elements 
of modern-day Earth are present futuristic or modern 


firearms might appear. The Firearms table provides 
examples of firearms from all three of those periods. 
The modern and futuristic items are priceless. 

Proficiency 

It's up to you to decide whether a character has 
proficiency with a firearm. Characters in most D&D 
worlds wouldn’t have such proficiency. During their 
downtime, characters can use the training rules in the 
Players Handbook to acquire proficiency, assuming 
that they have enough ammunition to keep the weapons 
working while mastering their use. 

Properties 

Firearms use special ammunition, and some of them 
have the burst fire or reload property. 

Ammunition. The ammunition of a firearm is 
destroyed upon use. Renaissance and modern firearms 
use bullets. Futuristic firearms are powered by a 
special type of ammunition called energy cells. An 
energy cell contains enough power for all the shots its 
firearm can make. 

Burst Fire. A weapon that has the burst fire property 
can make a normal single-target attack, or it can spray a 
10-foot-cube area within normal range with shots. Each 
creature in the area must succeed on a DC 15 Dexterity 
saving throw or take the weapon's normal damage. This 
action uses ten pieces of ammunition. 

Reload. A limited number of shots can be made with 
a weapon that has the reload property. A character must 
then reload it using an action or a bonus action (the 
character s choice). 

Explosives 

A campaign might include explosives from the 
Renaissance or the modern world (the latter are 
priceless), as presented in the Explosives table. 

Bomb 

As an action, a character can light this bomb and throw 
it at a point up to 60 feet away. Each creature within 5 
feet of that point must succeed on a DC 12 Dexterity 
saving throw or take 3d6 fire damage. 

Gunpowder 

Gunpowder is chiefly used to propel a bullet out of the 
barrel of a pistol or rifle, or it is formed into a bomb. 
Gunpowder is sold in small wooden kegs and in water- 
resistant powder horns. 

Setting fire to a container full of gunpowder can cause 
it to explode, dealing fire damage to creatures within 
10 feet of it (3d6 for a powder horn. 7d6 for a keg). A 
successful DC 12 Dexterity saving throw halves the 
damage. Setting fire to an ounce of gunpowder causes 
it to flare for 1 round, shedding bright light in a 30-foot 
radius and dim light for an additional 30 feet. 

Dynamite 

As an action, a creature can light a stick ol dynamite 
and throw it at a point up to 60 feet away. Each creature 
within 5 feet of that point must make a DC 12 Dexterity 
saving throw, taking 3d6 bludgeoning damage on a 
failed save, or half as much damage on a successful one. 

CHAPTER 9 | DUNCEON MASTER’S WORKSHOP 











A character can bind sticks of dynamite together so 
they explode at the same time. Bach additional stick 
increases the damage by ld6 (to a maximum of 10d6) 
and the burst radius by 5 feet (to a maximum of 20 feet). 

Dynamite can be rigged with a longer fuse to explode 
after a set amount of time, usually 1 to 6 rounds. Roll 
initiative for the dynamite. After the set number of 
rounds goes by, the dynamite explodes on Lhat initiative. 


Grenades 

As an action, a character can throw a grenade at a 
point up to 60 feet away With a grenade launcher, the 
character can propel the grenade up to 120 feet away. 

Each creature within 20 feet of an exploding 
fragmentation grenade must make a DC 15 Dexterity 
saving throw, taking 5d6 piercing damage on a failed 
save, or hair as much damage on a successf ul one. 

One round after a smoke grenade lands, it emits a 
cloud of smoke that creates a heavily obscured area in 
a 20-foot radius. A moderate wind (at least 10 miles per 
hour) disperses the smoke in 4 rounds; a strong wind 
(20 or more miles per hour) disperses it in 1 round. 


Figuring Out Alien Technology 


Int. Check Total 
9 or lower 


10-14 

15-19 

20 or higher 


Result 

One failure; one charge or use is wasted, if 
applicable; character has disadvantage on 
next check 
One failure 
One success 

One success; character has advantage on 
next check 


Alien Technology 

When adventurers find a piece of technology that isn't 
from their world or time period* the players might 
understand what the object is T but the characters 
rarely will. To simulate a character's ignorance about 
the technology, have the character make a series or 
Intelligence checks to figure it out 

To determine how the technology works, a character 
must succeed on a number of Intelligence checks 
based on the complexity of the item: two successes for 
a simple item (such as a cigarette lighter, calculator, or 
revolver) and four successes for a complex item (such a? 
a computer* chainsaw, or hovercraft). Then consult the 
Figuring Out Alien Technology table. Consider making 
the item break if a character fails four or more times 
before taking a long rest. 

A character who has seen an item used or has 
operated a similar item has advantage on Intelligence 
checks made to figure out its use* 


Explosives 


Renaissance Item 

Cost 

Weight 

Bomb 

150 gp 

1 lb. 

Gunpowder, keg 

250 gp 

20 lb. 

Gunpowder, powder horn 

35 gp 

2 lb. 

Modern Item 

Cost 

Weight 

Dynamite (stick) 

— 

1 lb. 

Grenade, fragmentation 

— 

1 lb. 

Grenade, smoke 

— 

21b. 

Grenade launcher 

— 

71b. 


Firearms 


Renaissance Item 

Cost 

Damage 

Weight 

Properties 


Martial Ranged Weapons 

Pistol 

250 gp 

IdlO piercing 

3 lb. 

Ammunition 

(range 30/90), loading 

Musket 

500 gp 

ld!2 piercing 

10 lb. 

Ammunition 

(range 40/120), loading, two-handed 

Ammunition 

Bullets (10) 

3 gp 

— 

21b. 

—— 


Modem Item 

Cost 

Damage 

Weight 

Properties 


Martial Ranged Weapons 

Pistol, automatic 

■—- 

2d6 piercing 

3 1b. 

Ammunition 

(range 50/150), reload (15 shots) 

Revolver 

-—- 

2d8 piercing 

3 !b. 

Ammunition 

(range 40/120), reload (6 shots) 

Rifle, hunting 

— 

2dl0 piercing 

8 1b. 

Ammunition 

[range S0/240), reload (5 shots), two-handed 

Rifle, automatic 

—<■ 

2d8 piercing 

81b. 

Ammunition 

(range 80/240), burst fire, reload (30 shots), two-handed 

Shotgun 

-—— 

2dS piercing 

71b. 

Ammunition 

(range 30/90), reload (2 shots), two-handed 

Ammunition 

Bullets (10) 

-— 

— 

1 lb. 

-—- 


Futuristic Item 

Cost 

Damage 

Weight 

Properties 


Martial Ranged Weapons 

Laser pistol 

— 

3d6 radiant 

2 lb. 

Ammunition 

(range 40/120), reload (50 shots) 

Antimatter rifle 

— 

6dS necrotic 

10 lb. 

Ammunition 

(range 120/360}. reload (2 shots), two-handed 

Laser rifle 

— 

3dS radiant 

71b. 

Ammunition 

(range 100/300), reload (30 shots), two-handed 

Ammunition 

Energy cell 

— 

■— 

5 oz. 

— 



CI i A PTE R 9 DUNCE* J N M A STE R * S VV i >R KS HOP 











Plot Points 


Plot points allow players to change the course of the 
campaign, introduce plot complications, alter the 
world, and even assume the role of the DM. If your first 
reaction to reading this optional rule is to worry that 
your players might abuse it. it's probably not for you. 


Using Plot Points 

Each player starts with 1 plot point. During a session, 
a player can spend that point for one effect. The effect 
depends on your group's approach to this optional rule. 
Three options are presented below, 

A player can spend no more than 1 plot point 
per session. You can increase this limit if you like, 
especially if you want the players to drive more of the 
story. Once every player at the table has spent a plot 
point, they each gain 1 plot point. 


Option 1; What a Twist! 

A player who spends a plot point gels to add some 
element to the setting or situation that the group 
(including you) must accept as true. For example, a 
player can spend a plot point and state that his or her 
character has found a secret door, an NFC appears, or 
a monster turns out to be a long-lost ally poly morphed 
into a horrid beast. 

A player who wants to spend a plot point in this way 
should take a minute to discuss his or her idea with 
everyone else at the table and gel feedback before 
settling on a plot development. 


Option 2: The Plot Thickens 
Whenever a player spends a plot point, the player to his 
or her right must add a complication to the scene. For 
example, if the player who spends the plot point decides 
that her character has found a secret door, the player 
to the right might slate that opening the door triggers a 
magical trap that teleports the party to another part of 
the dungeon. 


Option 3: f he Gods Must Be Crazy 
With this approach, there is no permanent DM, 
Everyone makes a character, and one person starts as 
the DM and runs the game as normal, Thai persons 
character becomes an NPC who can tag along with the 
group or remain on the sidelines, as the group wishes. 

At any time, a player can spend a plot point to become 
the DM. That player s character becomes an NPC, and 
play continues. Its probably not a good idea to swap 
roles in the middle of combat, but it can happen if your 
group allows time for the new DM to settle into his or 
her role and pick up where the previous DM left off. 

Using plot points in this way can make for an 
exciting campaign as each new DM steers the game in 
unexpected directions. This approach is also a great 
way for would-be DMs to try running a game in small 
controlled doses. 

In a campaign that uses plot points this way. everyone 
should come to the table with a hit of material prepared 
or specific encounters in mind. A player who isn’t 
prepared or who doesn't feel like DMingcan choose 
to not spend a plot point that session. 



















For this approach to work, it's a good Idea to establish 
some shared assumptions about the campaign so that 
DMs aren’t duplicating efforts or trampling on each 
other's plans. 

Combat Options 

The options in this section provide alternative ways to 
handle combat. The main risk of adding some of these 
rules is slowing down play. 

Initiative Variants _ 

This section offers different wavs to handle initiative. 
Initiative Score 

With this optional rule, creature don’t roll initiative 
at the start of combat. Instead, each creature has an 
initiative score, which is a passive Dexterity check: 

10 + Dexterity modifier. 

By cutting down on die rolls, math done on the fly, 
and the process of asking for and recording totals, you 
can speed your game up considerably—at the cost of an 
initiative order that is often predictable. 

Side Initiative 

Recording initiative for each PC and monster, arrangir_ 
everyone in the correct order, and remembering where 
you are in the list can hog the game down. If you want 
quicker combats, at the risk of those combats becoming 
unbalanced, try using the side initiative rule. 

Under this variant, the players roll a c!20 for their 
initiative as a group, or side. You also roll a d20. Neither 
roll receives any modifiers. Whoever rolls highest wins 
initiative. In case of a tie, keep rerolling until the tie 
is broken. 

When it's a side's turn, the members of that side can 
act in any order they choose. Once everyone on the side 
has taken a turn, the other side goes. A round ends 
when both sides have completed their turns. 

If more than two sides take part in a battle, each side 
rolls for initiative. Sides act from the highest roll to 
lowest. Combat continues in the initiative order until the 
battle is complete. 

This variant encourages teamwork and makes your 
life as a DM easier, since you can more easily coordinate 
monsters. On the downside, the side that wins initiative 
can gang up on enemies and take them out before they 
have a chance to act. 

Speed Factor 

Some DMs find the regular progression of initiative 
too predictable and prone to abuse. Players can use 
their knowledge of the initiative order to influence their 
decisions. For example, a badly wounded fighter might 
charge a troll because he knows that Lhe cleric goes 
before the monster and can heal him. 

Speed factor is an option for initiative that introduces 
more uncertainty into combat, at the cost of speed of 
play. Under this variant, the participants in a battle roll 
initiative each round. Before rolling, each character or 
monster must choose an action. 
































Initiative Modifiers. Modifiers might apply to a 
creature’s initiative depending on its size and the action 
ikes. For example, a creature that fights with a light 
weapon or casts a simple spell is more likely to act 
fore a creature armed with a heavy or slow weapon, 
re-c the Speed Factor Initiative Modifiers table for 
details. If an action has no modifier listed, the action has 
: effect on initiative. If more than one modifier applies 
such as wielding a two-handed, heavy melee weapon), 

, ply them all to the initiative roll. 


Speed Factor Initiative Modifiers 


'actor 

Spell casting 
.lelee, heavy weapon 
Melee, light or finesse weapon 
Melee, two-handed weapon 
angedp loading weapon 


Initiative Modifier 
Subtract the spell's level 
~2 
+2 
-2 
-5 


Creature Size 

Tiny 

Small 

’Medium 

_arge 

Huge 

largantu an 


Initiative Modifier 
+5 
+2 
+■0 
H2 
-5 
-8 


Don't apply the same modifier more than once on a 
feature’s turn. For example, a rogue fighting with two 
taggers gains the +2 bonus for using a light or finesse 
weapon only once, Jn the case of spellcasting. apply only 
the modifier from the highest-level spell. 

Apply any modifiers for bonus actions to that 
feature’s turn, remembering never to apply the 
same modifier twice. For instance, a paladin casts a 
ind-level spell as a bonus action and then attacks with a 
shortsword. The paladin takes a -2 penalty for the spell 
and gains a +2 bonus for using a light weapon, for a total 
modifier of +0. 

The table is only a starting point. You can refer to it 
hen adjudicating any actions a character takes that 
you think should he faster or slower. Quick, easy actions 
should grant a bonus, while slow, difficult ones should 
incur a penalty. As a rule of thumb, apply a bonus or 
penalty of 2 or 5 for an action. 

For example, a fighter wants to turn a winch to raise a 
portcullis. This is a complex, difficult action. You could 
rule that it incurs a -5 initiative penalty. 

Roiling Initiative * After deciding on an action, 
everyone rolls initiative and applies modifiers, keeping 
he result secret. You then announce an initiative 
number, starting with 30 and working down (it helps to 
■all out ranges of numbers at the start). Break any ties 
by having the combatant with the highest Dexterity act 
first. Otherwise, roll to determine who goes first. 

Turns. On its turn, a creature moves as normal but 
must take the action it selected or take no action at all. 

Once everyone has acted, the process repeats. 
Everyone in the battle selects an action, rolls initiative, 
and takes turns in order. 


Action Options _ 

This section provides new action options for combat. 
They can be added as a group or individually to 
your game. 

Climb onto a Bigger Creature 
If one creature wants to jump onto another creature, it 
can do so by grappling. A Small or Medium creature has 
little chance of making a successful grapple against a 
Huge or Gargantuan creature, however, unless magic 
has granted the grappler supernatural might. 

As an alternative, a suitably large opponent can be 
treated as terrain for the purpose of jumping onto its 
back or clinging to a limb. After making any ability 
checks necessary to get into position and onto the larger 
creature, the smaller creature uses its action to make 
a Strength (Athletics) or Dexterity (Acrobatics) check 
contested by the target’s Dexterity (Acrobatics) check. 

If it wins the contest, the smaller creature successfully 
moves into the target creature’s space and clings to its 
body. While in the target's space, the smaller creature 
moves with the target and has advantage on attack rolls 
against it. 

The smaller creature can move around within the 
larger creature’s space, treating the space as difficult 
terrain. The larger creature’s ability to attack the 
smaller creature depends on the smaller creature’s 
location, and is left to your discretion. The larger 
creature can dislodge the smaller creature as an 
action—knocking it off. scraping it against a wall, 
or grabbing and throwing it—by making a Strength 
(Athletics) check contested by the smaller creature’s 
Strength (Athletics) or Dexterity (Acrobatics) check, 

The smaller creature chooses which ability to use. 

Disarm 

A creature can use a weapon attack to knock a weapon 
or another item from a target’s grasp. The attacker 
makes an attack roll contested by the target's Strength 
(Athletics) check or Dexterity (Acrobatics) check If the 
attacker wins the contest, the attack causes no damage 
or other ill effect, but the defender drops the item. 

The attacker has disadvantage on its attack roll if 
the target is holding the item with two or more hands. 
The target has advantage on its ability check if it is 
larger than the attacking creature, or disadvantage if it 
is smaller. 

Mark 

This option makes it easier for melee combatants to 
harry each other with opportunity attacks. 

When a creature makes a melee attack, it can also 
mark its target. Until the end of the attacker’s next turn, 
any opportunity attack it makes against the marked 
target has advantage. The opportunity attack doesn’t 
expend the attacker s reaction, but the attacker can’t 
make the attack if anything, such as the incapacitated 
condition or the shocking grasp spell, is preventing it 
from taking reactions. The attacker is limited to one 
opportunity attack per turn. 


N.PTE ft 9 


D \} NO V O N MASTE ft' S WQ RKS l ! OF 





Overrun 

When a creature tries to move through a hostile 
creature's space, the mover can try to force its way 
through by overrunning the hostile creature* As an 
action or a bonus action, the mover makes a Strength 
(Athletics) check contested by the hostile creature s 
Strength (Athletics) check. The creature attempting the 
overrun has advantage on this check if it is larger than 
the hostile creature, or disadvantage if it is smaller. If 
the mover wins the contest, it can move through the 
hostile creature's space once this turn. 

Shove Aside 

With this option, a creature uses the special shove 
attack from the Players Handbook to force a target 
to the side, rather than away. The attacker has 
disadvantage on its Strength (Athletics) check when it 
does so. If that check is successful, the attacker moves 
the target 5 feet to a different space within its reach. 

Tumble 

A creature can try to tumble through a hostile creature s 
space, ducking and weaving past the opponent. As an 
action or a bonus action, the tumbler makes a Dexterity 
(Acrobatics) check contested by the hostile creature s 
Dexterity (Acrobatics) check. If the tumbler wins the 
contest, it can move through the hostile creature’s space 
once this turn. 

Hitting Cover _ _ 

When a ranged attack misses a target that has cover, 
you can use this optional rule to determine whether the 
cover was struck by the attack. 

First, determine whether the attack roll would have 
hit the protected target without the cover. If the attack 
roll falls within a range low enough to miss the target 
but high enough to strike the target if there had been 
no cover, the object used for cover is struck. If a creature 
is providing cover for the missed creature and the 
attack roll exceeds the AC of the covering creature, the 
covering creature is hit. 

Cleaving through Creatures _ 

If your player characters regularly fight hordes of lower- 
level monsters, consider using this optional rule to help 
speed up such lights. 

When a melee attack reduces an undamaged creature 
to 0 hit points, any excess damage from that attack 
might carry over to another creature nearby. The 
attacker targets another creature within reach and. if 
the original attack roll can hit it, applies any remaining 
damage to it. If that creature was undamaged and is 
likewise reduced to 0 hit points, repeat this process, 
carrying over the remaining damage until there are no 
valid targets, or until the damage carried over fails to 
reduce an undamaged creature to 0 hit points. 

Injuries _ 

Damage normally leaves no lingering effects. This 
option introduces the potential for long term injuries. 


It s up to you to decide when to cheek for a lingering 
injury. A creature might sustain a lingering injury under 
the following circumstances: 

* When it takes a critical hit 

* When it drops to 0 hit points but isn’t killed outright 

* When it fails a death saving throw by 5 or more 

To determine the nature of the injury, roll on the 
Lingering Injuries table. This table assumes a typical 
humanoid physiology, but you can adapt the results for 
creatures with different body types. 

Lingering Injuries 

d20 Injury 

1 Lose an Eye. You have disadvantage on Wisdom 
(Perception) checks that rely on sight and on 
ranged attack rolls. Magic such as the regenerate 
spell can restore the lost eye. If you have rro eyes 
left after sustaining this injury; you're blinded. 

2 Lose an Arm or a Hand. You can no longer hold 
anything with two hands, and you can hold only a 
single object at a time. Magic such as the regenerait 
spell can restore the lost appendage. 

3 Lose a Foot or Leg. Your speed on foot is halved, 
and you must use a cane or crutch to move unless 
you have a peg leg or other prosthesis. You fall 
prone after using the Dash action. You have 
disadvantage on Dexterity checks made to balance. 
Magic such as the regenerate spell can restore the 
lost appendage. 

4 Limp. Your speed on foot Is reduced by 5 feet. You 
must make a DC 10 Dexterity saving throw after 
using the Dash action. If you fail the save, you fall 
prone. Magical healing removes the limp. 

5-7 Internal Injury, Whenever you attempt an action 
in combat, you must make a DC 15 Constitution 
saving throw. On a failed save, you lose your action 
and can't use reactions until the start of your next 
turn. The injury heals if you receive magical healing 
or if you spend ten days doing nothing but resting. 

8-10 Broken Ribs, This has the same effect as Internal 
Injury above, except that the save DC is 10. 

11-13 Horrible Scar, You are disfigured to the extent that 
the wound can't be easily concealed. You have 
disadvantage on Charisma (Persuasion) checks 
and advantage on Charisma (Intimidation) checks. 
Magical healing of 6th level or higher, such as heal 
and regenerate , removes the scar. 

14-16 Festering Wound. Your hit point maximum is 

reduced by 1 every 24 hours the wound persists. 

If your hit point maximum drops to 0, you die. 

The wound heals if you receive magical healing. 
Alternatively, someone can tend to the wound and 
make a DC IS Wisdom (Medicine) check once ever; 
24 hours. After ten successes, the wound heals. 

17-20 Minor Scar. The scar doesn't have any adverse 

effect. Magical healing of 6th level or higher, such 
as heal and regenerate, removes the scar. 


CHAPTER 5 


DUNGEON M \STL ITS WORKSHOP 











Instead of using the effect described in the table, you 
can put the responsibility of representing a character's 
lingering injury in the hands of the player Roll on the 
Lingering Injuries table as usual, but instead of suffering 
the effect described for that result, that character gains 
a new flaw with the same name. Its up to the player to 
express the lingering injury during play, just like any 
other flaw, with the potential to gain inspiration when 
the injury affects the character in a meaningful way. 

Massive Damage 

This optional rule makes it easier for a creature to be 
felled by massive damage. 

When a creature takes damage from a single source 
equal to or greater than half its hit point maximum, it 
must succeed on a DC 15 Constitution saving throw 
or suffer a random effect determined by a roll on the 
System Shock table. For example, a creature that has a 
hit point maximum of 30 must make that Constitution 
save if it takes 15 damage or more from a single source. 

System Shock 

dlO Effect 

1 The creature drops to 0 hit points. 

2- 3 The creature drops to 0 hit points but is stable. 

4-5 The creature is stunned until the end of its next turn. 
6-7 The creature can’t take reactions and has 

disadvantage on attack rolls and ability checks until 
the end of its next turn. 

3- 10 The creature can’t take reactions until the end of its 

next turn. 

Morale 

Some combatants might run away when a light turns 
against them. You can use this optional rule to help 
determine when monsters and NPCs flee. 

A creature might flee under any of the following 
circumstances: 

* The creature is surprised. 

* The creature is reduced to half its hit points or fewer 
for the first time in the battle. 

- The creature has no way to harm the opposing side 
on its turn. 

A group of creatures might flee under any of the 
following circumstances: 

* All the creatures in the group are surprised, 

* The group s leader is reduced to 0 hit points, 
incapacitated, taken prisoner, or removed from battle. 

* The group is reduced to half its original size with no 
losses on the opposing side. 

To determine whether a creature or group of 
creatures flees, make a DC 10 Wisdom saving throw 
for the creature or the group's leader. If the opposition 
is overwhelming, the saving throw is made with 
disadvantage, or you can decide that the save fails 
automatically. If a group’s leader can'r make the saving 
throw for whatever reason, have the creature in the 
group with the next highest Charisma score make the 
saving throw instead. 


On a failed save, the affected creature or group flees 
by the most expeditious route. If escape is impossible, 
the creature or group surrenders. If a creature or group 
that surrenders is attacked by its conquerors, the battle 
might resume, and it's unlikely that further attempts to 
flee or surrender will be made. 

A failed saving throw isn't always to the adventurers' 
benefit. For example, an ogre that flees from combat 
might put the rest of the dungeon on alert or run off with 
treasure that the characters had hoped to plunder. 

Creating a Monster 

The Monster Manual contains hundreds of ready-to-play 
monsters, but it doesn't include every monster that you 
can imagine. Fart of the D&D experience is the simple 
joy of creating new monsters and customizing existing 
ones, if for no other reason than to surprise and delight 
your players with something they've never faced before. 

The first step in the process is coming up with the 
concept for your monster. What makes it unique? Where 
does it live? What role do you want it to serve in your 
adventure, your campaign, or your world? What does 
it look like? Does it have any weird abilities? Once you 
have the answers to these questions, you can start 
figuring out how to represent your monster in the game. 

Modi fy i ng a M o ns t er _ 

Once you have an idea for a monster, you’ll need 
statistics to represent it. The first question you should 
ask yourself is: Can 1 use statistics that already exist? 

A stat block in the Monster Manual might make a 
good starting point for your monster, Imagine, for 
example, that you want to create an intelligent arboreal 
predator that hunts elves. There is no such monster 
in the Monster Manual, but the quaggoth is a savage 
humanoid predator with a climbing speed. You could 
borrow the quaggoth stat block for your new monster, 
changing nothing but the creature $ name. You can also 
make minor tweaks, such as replacing the quaggoth’s 
language. Undercommon, with one that's more 
appropriate, such as Elvish or Sylvan. 

Need a fiery phoenix? Take the giant eagle or roc, give 
it immunity to fire, and allow it to deal fire damage with 
its attacks. Need a flying monkey? Consider a baboon 
with wings and a flying speed. Almost any monster you 
can imagine can be built using one that already exists. 

Adapting a stat block is far less time-consuming than 
creating one from scratch, and there are changes you 
can make to an existing monster that have no effect 
on its challenge rating, such as swapping languages, 
changing its alignment, or adding special senses. 
However, once you change the creature's offensive or 
defensive ability, such as its hit points or damage, its 
challenge rating might need to change, as shown later. 

Switching Weapons 

i f a monster wields a manufactured weapon, you can 
replace that weapon with a different one. For example, 
you could replace a hobgoblin s longs word with a 
halberd. Don’t forget to change the damage and the 
attack's reach where appropriate. Also be aware of the 


CHAPTER 9 | DUNGEON’ MASTER'S WORKSHOP 





consequences of switching from a one-handed weapon 
lq a two-handed weapon, or vice versa* For example, a 
hobgoblin wielding a halberd (a two-handed weapon) 
loses the benefit of its shield, so its AC decreases by 2. 

Adding a Special Trait 

Another simple way to customize a monster is to add 
a special trait. You can add a special trait of vour own 
devising or pick up a special trait from one of the many 
creatures in the Monster Manual. For example, you can 
create a goblin-spider hybrid by giving the normal goblin 
the Spider Climb special trait, turn an ordinary troll into 
a two-headed troll by giving it the Two Heads special 
trait, or turn an owlbear into a flying owlbear by giving it 
wings and a giant owls flying speed. 

Creating Quick Monster Stats 

If all you need are simple stats for a monster of a 
particular challenge rat ing, follow the steps here. If you 


Monster Statistics by Challenge Rating 




Def 

ensive- 


Offensive - 



Prof. 

Armor 

Hit 

Attack 

Damage/ 

Save 

CR 

Bonus 

Class 

Points 

Bonus 

Round 

DC 

a 

+2 

< 13 

1-6 

< 4-3 

0-1 

< 13 

l/S 

+2 

13 

7-35 

+3 

2-3 

13 

1/4 

+2 

13 

36-49 

4-3 

4-5 

13 

1/2 

+2 

13 

50-70 

4-3 

6-8 

13 

1 

+2 

13 

71-85 

+3 

9-14 

13 

2 

+2 

13 

36-100 

4*3 

15-20 

13 

3 

+2 

13 

101-115 

+4 

21-26 

13 

4 

+2 

14 

116-130 

+5 

27-32 

14 

5 

•+G 

15 

131-145 

+6 

33-38 

15 

6 

43 

15 

146-160 

+6 

39-44 

15 

7 

+3 

15 

161-175 

+6 

45-50 

15 

8 

4-3 

16 

176-190 

+7 

51-56 

16 

9 

+4 

16 

191-205 

+7 

57-62 

16 

ID 

+4 

17 

206-220 

47 

63-68 

16 

11 

+4 

17 

221-235 

+8 

69-74 

17 

12 

+4 

17 

236-250 

+8 

75-80 

17 

13 

4*5 

18 

251-265 

+8 

81-86 

18 

14 

+5 

IS 

266-230 

4-8 

87-92 

IS 

15 

+5 

IS 

281-295 

+8 

93-98 

18 

16 

+5 

IS 

296-310 

4-9 

99-104 

18 

17 

+6 

19 

311-325 

4-10 

105-110 

19 

IS 

+6 

19 

326-340 

4-10 

111-116 

19 

19 

+6 

19 

341-355 

+10 

117-122 

19 

20 

+6 

19 

356-400 

+10 

123-140 

19 

21 

4-7 

19 

401-445 

+11 

141-158 

20 

22 

+7 

19 

446-490 

+11 

159-176 

20 

23 

+7 

19 

491-535 

+11 

177-194 

20 

24 

4-7 

19 

536-580 

+12 

195-212 

21 

25 

+8 

19 

581-625 

+12 

213-230 

21 

26 

4-8 

19 

626-670 

+12 

231-248 

21 

27 

+8 

19 

671-715 

+13 

249-266 

22 

2S 

+8 

19 

716-760 

+13 

267-284 

22 

29 

+9 

19 

761-805 

+13 

285-302 

22 

30 

+9 

19 

806-850 

+14 

303-320 

23 


want to create something more akin to the monster 
star blocks in the Monster Manual, skip ahead to the 
"Creating a Monster Stat Block 1 ' section. 

Step L Expected Challenge Rating 

Pick the expected challenge rating (CR) for your 
monster. Knowing the monster's expected challenge 
rating will help you figure out the monster's proficiency 
bonus and other important combat statistics. Don’t 
worry about getting the challenge rating exactly right: 
you can make adjustments in later steps. 

A single monster with a challenge rating equal to 
the adventurers' level is, by itself, a fair challenge for a 
group of four characters. If the monster is meant to be 
fought in pairs or groups, its expected challenge rating 
should be lower than the party’s level. 

Don't fall into the trap of thinking that your monster 
must have a challenge rating equal to the level of the 
characters to be a worthy challenge. Keep in mind that 
monsters with a lower challenge rating can be a threat 
to higher-level characters when encountered in groups. 

Step 2. Basic Statistics 

Use the Monster Statistics by Challenge Rating table to 
determine the monster's Armor Class, hit points, attack 
bonus, and damage output per round based on the 
challenge rating yon chose in step 1. 

Step 3. Adjust Statistics 

Raise or lower the monster’s Armor Class, hit points, 
attack bonus, damage output per round, and save DC as 
you see fit, based on whatever concept you have in mind 
for the monster. For example, if you need a well-armored 
monster, increase its Armor Class. 

Once you've made the desired adjustments, record 
the monster's statistics. If there are any other statistics 
you think the monster needs (such as ability scores), 
follow the appropriate steps under "Creating a Monster 
Stat Block.” 

Step 4, Final Challenge Rating 

Calculate the monster s final challenge rating, 
accounting for the adjustments you made in step 3, 
Defensive Challenge Rating. Read down the Hit 
Points column of the Monster Statistics by Challenge 
Rating table until you find your monster's hit points. 
Then look across and note the challenge rating 
suggested for a monster with those hit points. 

Now look at the Armor Class suggested for a monster 
of that challenge rating* If your monster's AC is at least 
two points higher or lower than that number, adjust the 
challenge rating suggested by its hit points up or down 
by 1 for every 2 points of difference. 

Offensive Challenge Rating. Read down the Damage- 
Round column of the Monster Statistics by Challenge 
Rating table until you find your monsters damage 
output per round. Then look across and note the 
challenge rating suggested for a monster that deals that 
much damage. 

Now look at the attack bonus suggested for a monster 
of that challenge rating. If your monster's attack bonus 
is at least two points higher or lower than that number. 


C H A FT F. S 9 1 D U N G E O N M A STIR’S W G RKS H O P 












adjust the challenge rati n a si: a a ^a: a by its damage 
output up or down by 1 for every 2 points of difference* 

If the monster relies more on affects with saving 
throws than on attacks* use the monster's save DC 
instead of its attack bonus* 

If your monster uses different attack bonuses or save 
DCs, use the ones that will come up the most often. 

Average Challonge Rating. T he monster's final 
challenge rating is the average of its defensive and 
offensive challenge ratings. Round the average up or 
down to the nearest challenge rating to determine 
your monster s final challenge rating. For example, if 
the creature’s defensive challenge rating is 2 and its 
offensive rating is 3, its final rating is 3. 

With the final challenge rating, you can determine the 
monsters proficiency bonus using the Monster Statistics 
by Challenge Rating table. Use the Experience Points 
by Challenge Rating table to determine how much XP 
the monster is worth* A monster of challenge rating 
0 is worth 0 XP if it poses no threat. Otherwise, it is 
worth 10 XP, 

Creating a monster isn’t just a number-crunching 
exercise. The guidelines in this chapter can help you 
create monsters* but the only way to know whether a 
monster is fun is to play test it. After seeing your monster 
in action, you might want to adjust the challenge rating 
up or down based on your experiences. 

Experience Points by Challenge Rating 


CR 

XP 

CR 

XP 

0 

0 or 10 

14 

11,500 

1/8 

25 

IS 

13,000 

1/4 

SO 

16 

15,000 

1/2 

100 

17 

18,000 

1 

200 

18 

20 r 000 

2 

450 

19 

22,000 

3 

700 

20 

25,000 

4 

1,100 

21 

33,000 

5 

1,800 

22 

41,000 

6 

2,300 

23 

50,000 

7 

2.900 

24 

62,000 

8 

3,900 

25 

75,000 

9 

5,000 

26 

90,000 

10 

5,900 

27 

105,000 

11 

7,200 

28 

120,000 

12 

8,400 

29 

135,000 

13 

10,000 

30 

155,000 


Creating a Monster Stat Block 

If you want a full monster stat block* use the following 
method to create your new monster* 

The introduction to the Monster Manual explains all 
the components of a monster’s stat block. Familiarize 
yourself with that material before you begin. In the 
course of creating your monster, if you find yourself 
unable to make a decision, let the examples in the 
Monster Manual guide you. 

Once you have a monster concept in mind* follow the 
steps below. 


Step 1. Name 

A monsters name should be given as much 
consideration as any other aspect of the monster, 
if not more. 

Your monster might be based on a real-world creature 
or a monster from myth, in which case its name might 
be obvious* If you need to invent a name, keep in 
mind that the best names either reflect the monsters 
appearance or nature (such as the mimic and the 
owlbear) or have a nice ring to them (such as the chuul 
and the thri-kreen). 

Step 2. Size 

Make your monster whatever size you want: Tiny. Small, 
Medium, Large, Huge, or Gargantuan* 

A monsters size determines which die is used to 
calculate its hit points in step 8* Size also determines 
how much space the monster occupies, as discussed in 
the Players Handbook. 

Step 3. Type 

A monster’s type provides insight into its origins and 
nature. The Monster Manual describes each monster 
type. Choose the type that best fits your concept for 
the monster. 

Step 4. Alignment 
If your monster has no concept of morals, it is 
unaligned. Otherwise, it has an alignment appropriate 
to its nature and moral outlook, as discussed in the 
Players Handbook. 

Step 5. Ability Scores and Modifiers 
Monsters, like player characters, have the six ability 
scores. A monster can’t have a score lower than 1 or 
higher than 30 in any ability. 

A monster s score in any ability determines its ability 
modifier, as shown in the Ability Scores and Modifiers 
table in the Player’s Handbook .. 

If you can’t decide what a monster's ability scores 
should be, look for comparable monsters in the Monster 
Manual and mimic their ability scores. For example* 
if your monster is roughly as smart as a human 
commoner, give it an Intelligence of 10 (+0 modifier). 

If it's as strong as an ogre, give it a Strength of 19 (+4 
modifier). 

Step 6. Expected Challenge Rating 
Choose a challenge rating for your monster* See step 
1 under “Creating Quick Monster Stats" for more 
information. You will use the proficiency bonus in later 
steps* so jot it down now or remember it. 

Step 7. Armor Class 

A monster s Armor Class has a direct bearing on its 
challenge rating, and vice versa* You can determine your 
monster s Armor Class in one of two ways. 

Use the Table. You can choose an appropriate AC 
based on the monster's expected challenge rating, as 
shown in the Monster Statistics by Challenge Rating 
table. The table provides the baseline AC for a monster 
of a specific challenge rating* Feel free to adjust the 
AC as you see fit. For example, the baseline AC for a 


C H AFTER 9 I DUNGEON M A ST E H ’ £ W O R K SH O F 


3 ? 5 








CHAPTER S I DUNGEON MASTER'S WORKSHOP 

276 

wmmmp 


I i 


challenge rating 1 monster is 13, but if your monster is 
well armored, raise its AC accordingly. Don’t worry if 
the monster's AC isn’t matching up with the expected 
challenge rating for the monster Other factors can a HA 
a monster's challenge rating, as shown in later steps. 

Determine an Appropriate AC* Alternatively, you ca 
determine an appropriate AC based on the type of arm 
the monster wears, its natural armor, or some other 
Armor Class booster (such as the mage armor spell). 
Again, don’t worry if the monster's AC isn't matching up 
with the expected challenge rating for the monster 

If your monster wears manufactured armor, irs 
Armor Class is based on the type of armor worn (see 
the Player’s Handbook for armor types). If the monster 
carries a shield, apply the shield bonus to its AC 
as normal, 

A monster that doesn’t wear armor might have narj~ 
armor, in which case it has an AC equal to 10 + its 
Dexterity modifier + its natural armor bonus, A mons- ' 
whth a thick hide generally has a natural armor bonus 
of+1 to +3, The bonus can be higher if the creature 
is exceptionally well armored. A gorgon, for example 
is covered in steely plates and has n natural armor 
bonus of +9, 


Step 8, Hit Points 

A monster's hit points have a direct bearing on its 
challenge rating, and vice versa. You can determine > 
monster’s hit points in one of two w ays. 

Use the Table ■ You can start with the monster’s 
expected challenge rating and use the Monster 
Statistics by Challenge Rating table to determine an 
appropriate number of hit points. The table presents ~ 
range of hit points for each challenge rating. 

Assign Hit Dice , Alternatively, you can assign a 
number of Hit Dice to a monster, then calculate its 
average hit points. Don't worry if the hit points aren't 
matching up with the expected challenge rating for i r 
monster. Other factors can affect a monster’s challeng 
rating, as shown in later steps, and you can always 
adjust a monster’s Hit Dice and hit points later on, 

A monster can have as many Hit Dice as you want, 
but the size of the die used to calculate its hit points 
depends on the monster’s size, as shown in the Hit D; 
by Size table. For example, a Medium monster uses d 
for hit points, so a Medium monster with 5 Hit Dice a: 
a Constitution of 13 (+1 modifier) has 5dS + 5 hit point 

A monster typically has average hit points based on i 
Hit Dice. For example, a creature with 5d8 -e 5 hit pci 
has an average of 27 hit points (5 x 4.5 + 5). 

Hit Dice by Size 


jt 




JU 


r - 


Monster Size 

Hit Die 

Average HP per D i 

Tiny 

d4 

21 h 

Small 

d6 

Vh 

Medium 

d8 

4V& 

Large 

dlO 

5 % 

Huge 

d12 

6Vz 

Gargantuan 

d20 

icn/2 
















Step 9. Damage Vulneras: i:ties, 
Resistances, and Immunities 

Decide whether your monster h . - : -r-r-rabilitv, 

resistance, or immunity to one ' more types of 
damage (see the Player s Handb- - for descriptions 
of the various damage types Assign a vulnerability, 
resistance, or immunity to a :: ■nster only when it's 
intuitive. For example, it makes sr-nse for a monster 
made of molten lava to have immunisy to tire damage. 

Giving a monster resistances and immunities to three 
or more damage types (especially bludgeoning, piercing, 
and slashing damage) is like giving it extra hit points. 
However, adventurers have more resources at higher 
levels to counteract such defenses, making resistances 
and immunities less relevant at higher levels. 

Effective Hit Points. If a monster has resistance 
or Immunity to several damage types—especially 
bludgeoning, piercing, and slashing damage from 
non magical weapons—and not all the characters in the 
party possess the means to counteract that resistance 
or immunity, you need to take these defenses into 
account when comparing your monster s hit points to its 
expected challenge rating. Using the Effective Hit Points 
Based on Resistances and Immunities table, apply 
the appropriate multiplier to the monster's hit poinrs 
to determine its effective hit points for the purpose of 
gauging its final challenge rating. (The monsters actual 
hit points shouldn't change.) 

For example, a monster with an expected 
challenge rating of 6. 150 hit points, and resistance 
to bludgeoning, piercing, and slashing damage from 
non magical weapons effectively has 225 hit points 
(using the U5 multiplier for resistances) for the purpose 
of gauging its final challenge rating. 

Monsters don't normally have vulnerability to more 
than one or two types of damage. Vulnerabilities don't 
significantly affect a monster’s challenge rating, unless 
a monster has vulnerabilities to multiple damage types 
that are prevalent, especially bludgeoning, piercing, 
and slashing. For such a strange monster, reduce its 
effective hit points by half. Or even better, eliminate 
the vulnerabilities and give the brittle monster fewer 
hit points. 

Effective Hit Points Based on 
Resistances and Immunities 

HP Multiplier for 
Immunities 

x 2 
x 2 
x 1.5 
x 125 

Step 10. Attack Bonuses 

A monster’s attack bonuses have a direct bearing on its 
challenge rating, and vice versa. You can determine a 
monster's attack bonuses in one of two ways. 

Use the Table. You can start with the monster’s 
expected challenge rating and use the Monster 
Statistics by Challenge Rating table to determine an 
appropriate attack bonus for all the monsters attacks, 
regardless of its ability scores. 


Expected 
Challenge Rating 

1-4 

5-10 

n-16 

17 or more 


HP Multiplier for 
Resistances 

x 2 
x US 
x 1,25 
xl 


The table provides the baseline attack bonus for each 
challenge rating. Feel free to adjust the attack bonus as 
you see fit to match whatever concept you have in mind. 
For example, the baseline attack bonus for a challenge 
rating 1 monster is +3, but if your monster needs more 
accuracy, raise its bonus accordingly. Don’t worry if 
the monsters attack bonus isn't matching up with the 
expected challenge rating for the monster Other factors 
can affect a monsters challenge rating, as shown in 
later steps. 

Calculate Attack Bonuses * Alternatively, you can 
calculate a monsters attack bonuses the same way 
players calculate the attack bonuses of a character. 

When a monster has an action that requires an attack 
roll, its attack bonus is equal to its proficiency bonus + 
its Strength or Dexterity modifier A monster usually 
applies its Strength modifier to melee attacks and its 
Dexterity modifier to ranged attacks, although smaller 
monsters sometimes use Dexterity for both. 

Again, don’t worry if the attack bonuses aren’t 
matching up with the expected challenge rating for 
the monster. You can always adjust a monster’s attack 
bonuses later. 

Step 1L Damage 

A monster's damage output—the amount of damage it 
deals every round- has a direct bearing on its challenge 
rating, and vice versa. You can determine a monster's 
damage output in one of two ways. 

Use the Table, You can start with the monster's 
expected challenge rating and use the Monster 
Statistics by Challenge Rating table to determine how 
much damage the monster should deal every round. 

The table presents a range at each challenge rating. 

It doesn't matter how this damage is apportioned or 
distributed; for example, a monster might deal the 
damage every round with a single attack, or the damage 
could be split among multiple attacks against one or 
more foes. 

Choose the type of damage based on how you imagine 
the damage being delivered. For example, if the monster 
is attacking with razor-sharp claws, the damage it deals 
is probably slashing damage. If its claws are poisonous, 
some portion of the damage might be poison damage 
instead of slashing damage. 

If you want the damage output to vary slightly from 
round to round, you can translate the damage range into 
a single die expression (for a monster with one attack) 
or multiple die expressions (for a monster with multiple 
attacks). For example, a challenge rating 2 monster 
deals 15-20 damage per round. If you imagine the 
creature having a Strength of 18 (+4 modifier), you could 
give it one melee a Hack that deals 3d8 + 4 (average 
17.5) damage, split the damage output into two separate 
attacks that deal Id 10 + 4 (average 9) damage each, or 
use any other combination where the average damage 
output falls within the desired range. 

Base the Damage on the Weapon . Alternatively, 
you can use a die expression to represent the damage 
that a monster deals with each of its attacks based on 
whatever weapon it is using. 


CHAPTER 9 I DUNGEON MASTER'S WORKSHOP 

277 



Don't worry if the damage output isn't matching up 
with the expected challenge rating for the monster. 
Other factors can affect a monster s challenge rating, 
as will be discussed in later steps, and you can always 
adjust a monster's damage output later on. 

Some monsters use natural weapons, such as claws 
or tail spikes. Others wield manufactured weapons. 

If a monster has natural weapons, you decide how 
much damage it deals with those attacks, as well as the 
type of damage. See the Monster Manual for examples. 
If a monster wields a manufactured weapon, it deals 
damage appropriate to the weapon. For example, a 
greataxe in the hands of a Medium monster deals Id 12 
slashing damage plus the monster's Strength modifier, 
as is normal for that weapon. 

Big monsters typically wield oversized weapons that 
deal extra dice of damage on a hit. Double the weapon 
dice if the creature is Large, triple the weapon dice if it's 
Huge, and quadruple the weapon dice if it’s Gargantuan. 
For example, a Huge giant wielding an appropriately 
sized greataxe deals 3d 12 slashing damage (plus its 
Strength bonus), instead of the normal ld!2. 

A creature has disadvantage on attack rolls with a 
weapon that is sized for a larger attacker. You can rule 
that a weapon sized for an attacker two or more sizes 
larger is too big for the creature to use at all. 

Overall Damage Output To determine a monster's 
overall damage output, take the average damage it 
deals with each of its attacks in a round and add them 
together. If a monster has different attack options, use 
the monster's most effective attacks to determine its 
damage output. For example, a fire giant can make two 
greats word attacks or one rock attack in a round. The 
greatsword attacks deal more damage, so that attack 
routine determines the fire giant s damage output. 

If a monster’s damage output varies from round to 
round, calculate its damage output each round for the 
first three rounds of combat, and take the average. 

For example, a young white dragon has a multiattack 
routine (one bite attack and two claw attacks) that deals 
an average of 37 damage each round, as well as a breath 
weapon that deals 45 damage, or 90 if it hits two targets 
(and it probably will). In the first three rounds of combat, 
the dragon will probably get to use its breath weapon 
once and its multiattack routine twice, so its average 
damage output for the first three rounds would be (90 + 
37 + 37) t 3, or 54 damage (rounded down). 

When calculating a monster s damage output, also 
account for special off-turn damage-dealing features, 
such as auras, reactions, legendary actions, or lair 


Attack Riders 

Many monsters have attacks that do more than deal damage. 
Some effects that can be added to an attack to give it a 
flavorful twist include: 


* Adding damage of a different type to the attack 

* Having the monster grapple the target on a hit 

- Allowing the monster to knock the target prone on a hit 

* Imposing a condition on the target if the attack hits and 
the target fails a saving throw 



actions. For example, a baler's Fire Aura deals 10 
fire damage to any creature that hits the balor with a 
melee attack. The aura also deals 10 fire damage to all 
creatures within 5 feet of the balor at the start of each 
of the baler's turns. If you assume that one character :: 
the party is within 5 feet of the balor at all times, hitting 
it with a melee weapon every round, then the balor's 
damage output per round increases by 20. 

Step 12, Save DCs 

A monster might have an attack or some other trait 
that requires a target to make a saving throw. The save 
DCs to resist such effects have a direct bearing on the 
monster's challenge rating, and vice versa. You can 
determine save DCs in one of two ways. 

Use the Table, You can start with the monster's 
expected challenge rating and use the Monster 
Statistics by Challenge Rating table to determine an 
appropriate save DC for any effect that requires a larg t 
to make a saving throw. 

Calculate the DCs . Alternatively, you can calculate 
a monster's save DCs as follows: 8 -f- the monsters 
proficiency bonus + the monster's relevant ability 
modifier. You choose the ability that best applies. 

For example, if the effect is a poison, the relevant 
ability is probably the monster's Constitution. If 
the effect is similar to that of a spell, the relevant 
ability might be the monster's Intelligence, Wisdom, 
or Charisma, 

Don’t worry if the save DCs aren't matching up with 
the expected challenge rating for the monster. Other 
factors can affect a monster’s challenge rating, as 
shown in later steps, and you can always adjust the sa 
DCs later on. 

Step 13. Special Traits, Actions, and 
Reactions 


Some special traits (such as Magic Resistance), special 
actions (such as Superior invisibility), and special 
reactions (such as Parry) can improve a monster's 
combat effectiveness and potentially increase its 
challenge rating. 


C H A PTE R 9 I D U N GEO& M A STE R' S WORKSHOP 




















The Monster Features table lists various features that 
you can plunder from the Monster Manual. The table 
notes which features increase a monster's effective 
Armor Class, hit points, attack bonus, or damage output 
for the purpose of determining its challenge rating. (The 
features don't actually change the monster's statistics.) 
Features that have no effect on a monster's challenge 
rating are noted with a clash (—). 

When assigning special traits, actions, or reactions 
to a monster, keep in mind that not all monsters need 
them. The more you add. the more complex (and harder 
to run) the monster becomes. 

Innate Spellcasting and Spellcasting. The impact 
that the Innate Spellcasting and Spellcasting special 
traits have on a monster's challenge rating depends 
on the spells that the monster can cast. Spells that 
deal more damage than the monster's normal attack 
routine and spells that increase the monster’s AC or 
hit points need to be accounted for when determining 
the monster’s final challenge rating. See the ''Special 
Traits"' section in the introduction of the Monster 
Manual for more information on these two special traits. 

Step 14, Speed 

Every monster has a walking speed. (Immobile 
monsters have a walking speed of 0 feet.) In addition to 
its walking speed, a monster might have one or more 
other speeds, including a burrowing, climbing, flying, or 
swimming speed. 

Flying Monster. Increase the monster’s effective 
Armor Class by 2 (not its actual AC) if it can fly and deal 
damage at range and if its expected challenge rating 
is TO or lower (higher-level characters have a greater 
ability to deal with flying creatures). 

Step 15, Saving Throw Bonuses 

If you want a monster to be unusually resistant to 
certain kinds of effects, you can give it a bonus to saving 
throws tied to a particular ability. 

A saving throw bonus is best used to counteract a low 
ability score. For example, an undead monster with a 
low Wisdom score might need a Wisdom saving throw 
bonus to account for the fact that it’s more difficult to 
charm, frighten, or turn than its Wisdom would indicate. 

A saving throw bonus is equal to the monster's 
proficiency bonus + the monster s relevant 
ability modifier, 

A monster with three or more saving throw- bonuses 
has a significant defensive advantage, so its effective AC 
(not its actual AC) should be raised when determining 
its challenge rating. If it has three or four bonuses, 
increase its effective AC by 2. If it has five or more 
bonuses, increase its effective AC by 4. 

Step 16, Final Challenge Rating 

At this point, you have all the statistical information 
you need to calculate the monster s final challenge 
rating. This step is identical to step 4 under "Creating 
Quick Monster Stats, ’ Calculate the monster's defensive 
challenge rating and its offensive challenge rating, then 
take the average to get its final challenge rating. 


Step 17. Skill Bonuses 

I f you want a monster to be proficient in a skill, you can 
give it a bonus equal to its proficiency bonus on ability 
checks related to that skill. For example, a monster 
with sharp senses might have a bonus on Wisdom 
(Perception) checks, while a duplicitous monster might 
have a bonus on Charisma (Deception) checks. 

You can double the proficiency bonus to account for 
heightened mastery. For example, a doppelganger is 
so good at deceiving others that its bonus on Charisma 
(Deception) checks is equal to double its proficiency 
bonus + its Charisma modifier. 

Skill bonuses have no bearing on a monster’s 
challenge rating. 

Step 18, Condition Immunities 

A monster can be immune to one or more debilitating 
conditions, and these immunities have no bearing on 
its challenge rating. For descriptions of the various 
conditions, see appendix A of the Flayers Handbook. 

As with damage immunities, condition immunities 
should be intuitive and logical. For example, it makes 
sense that a stone golem can’t be poisoned, since its a 
construct without a nervous system or internal organs. 

Step 19. Senses 

A monster might have one or more of the following 
special senses, which are described in the Monster 
Manual: blindsight dark vision, trernorsense, and 
truesight. Whether the monster has special senses or 
not has no bearing on its challenge rating. 

Passive Perception Score * All monsters have a 
passive Wisdom (Perception) score, which is most 
often used to determine whether a monster detects 
approaching or hidden enemies, A monster’s passive 
Wisdom (Perception) score is 10 + its Wisdom modifier. 
If the monster has proficiency in the Perception skill, its 
score is 10 + its Wisdom (Perception) bonus. 

Step 20, Languages 

Whether a monster can speak a language has no 
bearing on its challenge rating. 

A monster can master as many spoken languages as 
you want, although few monsters know more than one 
or two, and many monsters (beasts in particular) have 
no spoken language whatsoever. A monster that lacks 
the ability to speak might still understand a language. 

Telepathy, Whether or not a monster has telepathy 
has no bearing on its challenge rating. For more 
information on telepathy, see the Monster Manual 

NPC Stat Blocks _ 

Appendix B of the Monster Manual contains stat blocks 
for common NPC archetypes such as bandits and 
guards, as well as tips for customizing them. Those tips 
include adding racial traits from the Player's Handbook. 
equipping NPCs with magic items, and swapping armor, 
weapons, and spells. 


CHAPTER 9 


DUNGEON MASTER'S WORKSHOP 















Monster Features 

Name 

Aggressive 

Example Monster 

Ore 

Effect on Challenge Rating 

Increase the monster's effective per-round damage output by 2. 

Ambusher 

Doppelganger 

Increase the monster's effective attack bonus by T 

Amorphous 

Black pudding 

— 

Amphibious 

Kuo-toa 

— 

Angelic Weapons 

Deva 

Increase the monster's effective per-round damage by the amount noted in 
the trait 

Antimagic Susceptibility 

Flying sword 

-—- 

Avoidance 

Demilfch 

Increase the monster's effective AC by T 

Blind Senses 

Grimlock 

— 

Blood Frenzy 

Sahuagin 

Increase the monster's effective attack bonus by 4. 

Breath Weapon 

Ancient black dragon 

For the purpose of determining effective damage output, assume the breath 
weapon hits two targets, and that each target fails its saving throw. 

Brute 

Bugbear 

Increase the monster's effective per-round damage by the amount noted in 
the trait- 

Chameleon Skin 

Troglodyte 

— 

Change Shape 

Ancient brass dragon 

— 

Charge 

Centaur 

Increase the monster's damage on one attack by the amount noted in the trait. 

Charm 

Vampire 

— 

Constrict 

Constrictor srrake 

Increase the monster's effective AC by T 

Damage Absorption 

Flesh golem 

— 

Damage Transfer 

Darkmantle 

Double the monster’s effective hit points. Add one-third of the monster's hit 
points to its per-round damage. 

Death Burst 

Magmin 

Increase the monster’s effective damage output for 1 round by the amount 
noted in the trait, and assume it affects two creatures. 

Devil Sight 

Barbed devil 

— 

Dive 

Aarakocra 

Increase the monster's effective damage on one attack by the amount noted in 
the trait. 

Echolocation 

Hook horror 

■—- 

Elemental Body 

Azer 

Increase the monster’s effective per-round damage by the amount noted in 
the trait. 

Enlarge 

Duergar 

Increase the monster's effective per-round damage by the amount noted in 
the trait. 

Ethereal ness 

Night hag 

— 

False Appearance 

Gargoyle 

— 

Fey Ancestry 

Drew 

— 

Fiendish Blessing 

Cam b ion 

Apply the monster's Charisma modifier to its actual AC. 

Flyby 

Peryton 

— 

Frightful Presence 

Ancient black dragon 

Increase the monster's effective hit points by 25% if the monster is meant to 
face characters of 10th level or lower. 

Grappler 

Mimic 

— 

Hold Breath 

Lizardfolk 

— 

Horrifying Visage 

Banshee 

See Frightful Presence. 

Illumination 

Flameskull 

— 

Illusory Appearance 

Green hag 

— 

Immutable Form 

Iron golem 

— 

Incorporeal Movement 

Ghost 

-— 

innate Spellcasting 

Djinni 

See step 13 under ''Creating a Monster Stat Block.” 

Inscrutable 

Androsphinx 

— 

Invisibility 

Imp 

-—. 

Keen Senses 

Hell hound 

— 

Labyrinthine Recall 

Minotaur 

—■ 

Leadership 

Hobgoblin captain 

— 

Legendary Resistance 

Ancient black dragon 

Each per-day use of this trait increases the monster's effective hit points based 
on the expected challenge rating: 1-4, 10 hp; 5-10, 20 hp; 11 or higher, 30 hp. 

Life Drain 

Wight 

— 


CHAPTER 9 


DUNGEON \1 A STES'S WORKS H O P 




Name 

Light Sensitivity 

Example Monster 

Shadow demon 

Effect on Challenge Rating 

Magic Resistance 

Magic Weapons 

Balor 

Balor 

Increase the monster's effective AC by 2. 

Martial Advantage 

Hobgoblin 

Increase the effective damage of one attack per round by the amount gained 
from this trait. 

Mimicry 

Nimble Escape 

Kenku 

Gobtin 

Increase the monster's effective AC and effective attack bonus by 4 (assuming 
the monster hides every round). 

Otherworldly Perception 

Kuo-toa 

— 

Pack Tactics 

Kobold 

Increase the monster’s effective attack bonus by 1. 

Parry 

Hobgoblin warlord 

Increase the monster's effective AC by 1. 

Possession 

Ghost 

Double the monster's effective hit points. 

Pounce 

Tiger 

Increase the monster's effective damage for 1 round by the amount it deals 
with the bonus action gained from this trait. 

Psychic Defense 

Githzerai monk 

Apply the monster's Wisdom modifier to its actual AC If the monster isn't 
wearing armor or wielding a shield. 

Rampage 

Gnoll 

Increase the monster's effective per-round damage by 2. 

Reactive 

Marilith 

— 

Read Thoughts 

Doppelganger 

— 

Reckless 

Minotaur 

■—■ 

Redirect Attack 

Goblin boss 

— 

Reel 

Roper 

—■ 

Regeneration 

Troll 

1 ncrease the monster's effective hit points by 3 x the number of hit points the 
monster regenerates each round. 

Rejuvenation 

Uch 

— 

Relentless 

We reboar 

Increase the monster's effective hit points based on the expected challenge 
rating: 1-4, 7 hp; 5—10, 14 hp; 11-16, 21 hp; 17 or higher, 28 hp. 

Shadow Stealth 

Shadow demon 

increase the monster's effective AC by 4. 

Shapechanger 

We rerat 

— 

Siege Monster 

Earth elemental 

— 

Slippery 

Kuo-toa 

— 

Spellcasting 

Lich 

See step 13 under ''Creating a Monster Stat Block.” 

Spider Climb 

Ettercap 

— 

Standing Leap 

Bullywug 

— 

Steadfast 

Bearded devil 

— 

Stench 

Troglodyte 

Increase the monster's effective AC by 1. 

Sunlight Sensitivity 

Kobold 

— 

Superior Invisibility 

Faerie dragon 

Increase the monster's effective AC by 2. 

Sure-Footed 

Dao 

—— 

Surprise Attack 

Bugbear 

Increase the monster’s effective damage for 1 round by the amount noted in the 
trait. 

Swallow 

Behir 

Assume the monster swallows one creature and deals 2 rounds of add damage 
to it. 

Teleport 

Balor 

■-„ 

Terrain Camouflage 

Bullywug 

— 

Tunneler 

Umber hulk 

— 

Turn Immunity 

Revenant 

— 

Turn Resistance 

Lich 

— 

Two Heads 

Ettin 

—- 

Undead Fortitude 

Zombie 

Increase the monster's effective hit points based on the expected challenge 
rating: 1-4, 7 hp; 5-10, 14 hp; 11—16, 21 hp; 17 or higher, 28 hp. 

Web 

Ciar: sp-de r 

increase the monster's effective AC by 1. 

Web Sense 

Giant spicier 

— 

Web Walker 

Giant spacer 

— 

Wounded Fury 

Quaggotb 

increase the monster’s damage for 1 round by the amount noted in the trait. 


GIIAFTER 9 I D U N G It ON M A STE R' 5 WORKS I! O P 



If you want to take ail NFC stat block and adapt it for 
a specific monster race, apply the ability modifiers and 
add the features listed in the NPC Features table. If the 
N PCs AC, hit points, attack bonus, or damage changes, 
recalculate its challenge rating. 

Creating NPGs from Scratch 

If you need completely new statistics for an NPC. you 

have two options; 


* You can create an NPC stat block (similar to the ones 
in the Monster Manual) as you would a monster stat 
block, as discussed in the previous section. 

* You can build the NPC as you would a player 
character, as discussed in the Players Handbook ♦ 

If you decide to build an NPC the same way you build 
a player character, you can skip choosing a background 
and instead pick two skill proficiencies for the NPC. 



NPC Features 

Race Ability Modifiers 

Features 

Aarakocra 

+2 Dex, +2 Wis 

Dive Attack; talon attack action; speed 20 ft., fly 50 ft,; speaks Auran 

Bullywug 

-2 Int, -2 Cha 

Amphibious, Speak with Frogs and Toads, Swamp Camouflage, Standing Leap; speed 

20 ft. 3 swim 40 ft.; speaks Bullywug 

Dragonborn* 

+2 Str, +1 Cha 

Breath Weapon (use challenge rating instead of level to determine damage). Damage 
Resistance, Draconic Ancestry; speaks Common and Draconic 

Drew* 

+2 Dex, +1 Cha 

Fey Ancestry, Innate Spellcasting feature of the drow, Sunlight Sensitivity; darkvision 

120 ft.; speaks Elvish and Undercommon 

Dwarf* 

+2 Str or Wis, +2 Con 

Dwarven Resilience, Stonecunning; speed 25 ft.; darkvision 60 ft.; speaks Common and 
Dwarvish 

Elf* 

+2 Dex, +1 Int or Wis 

Fey Ancestry, Trance: darkvision 60 ft.; proficiency in the Perception skill; speaks 

Common and Elvish 

Gnoll 

+2 Str, -2 Int 

Rampage; darkvision 60 ft. 

Gnome* 

+2 Int, +2 Dex or Con 

Gnome Cunning; Small size; speed 25 ft.; darkvision 60 ft.; speaks Common and 

Gnomish 

Gnome, deep 

+1 Str, +2 Dex 

Gnome Cunning, Innate Spellcasting, Stone Camouflage; Small size; speed 20 ft.; 
darkvision 120 ft.; speaks Gnomish, Terran, and Undercommon 

Goblin 

-2 Str, +2 Dex 

Nimble Escape; Small size; darkvision 60 ft.; speaks Common and Goblin 

Grimlock 

+2 Str, -2 Cha 

Blind Senses, Keen Hearing and Smell, Stone Camouflage; can’t be blinded; blindsight 30 
ft., or 10 ft. while deafened (blind beyond this radius); speaks Undercommon 

Half-elf* 

+1 Dex, +1 Int r +2 Cha 

Fey Ancestry; darkvision 60 ft.; proficiency in two skills; speaks Common and Elvish 

Half-ore* 

+2 Str, +1 Con 

Relentless Endurance; darkvision 60 ft.; proficiency in the Intimidation skill; speaks 

Common and Ore 

Halfiing* 

+2 Dex, +1 Con or Cha 

Brave, Halfiing Nimbleness, Lucky; Small size; speed 25 ft,; speaks Common and Halfiing 

Hobgoblin 

None 

Martial Advantage; darkvision 60 ft,; speaks Common and Goblin 

Kenku 

+2 Dex 

Ambusher, Mimicry; understands Auran and Common but speaks only through the use 
of its Mimicry trait 

Kobold 

-4 Str, +2 Dex 

Pack Tactics, Sunlight Sensitivity; Small size; darkvision 60 ft.; speaks Common and 
Draconic 

Kuo-toa 

None 

Amphibious, Otherworldly Perception, Slippery, Sunlight Sensitivity; speed 30 ft., swim 

30 ft.; darkvision 120 ft.; speaks Undercommon 

Liza rd folk 

+2 Str, -2 Int 

Hold Breath (15 min.); +3 natural armor bonus to AC; speed 30 ft, swim 30 ft.; speaks 
Draconic 

Merfolk 

None 

Amphibious; speed 10 ft., swim 40 ft.; speaks Aquan and Common 

Ore 

+2 Str, -2 Int 

Aggressive; darkvision 60 ft,; speaks Common and Ore 

Skeleton 

+2 Dex, -4 Int, -4 Cha 

Vulnerable to bludgeoning damage; immune to poison damage and exhaustion; can't be 
poisoned; darkvision 60 ft,; can’t speak but understands the languages it knew in life 

Tiefling* 

+1 Int, +2 Cha 

Infernal Legacy (use challenge rating instead of level to determine spells), resistance to 
fire damage; darkvision 60 ft.; speaks Common and Infernal 

Troglodyte 

+2 Str, +2 Con, -4 Int, 

-4 Cha 

Chameleon Skin, Stench, Sunlight Sensitivity; +1 natural armor bonus to AC; darkvision 

60 ft,; speaks Troglodyte 

Zombie 

+1 Str, +2 Con, -6 Int, 
-4 Wis, -4 Cha 

Undead Fortitude; immune to poison damage; can t be poisoned; darkvision 60 ft,; can’t 
speak but understands the languages It knew in life 

* See the Player's 

Handbook for descriptions of this race’s features, none of which alter the NPCs challenge rating. 

✓ 

^ \ ' .' — / 


C H A PTE R 9 | DUNGEON M A SI t- !T S WORKS HQ P 

























’ 


The NPC Features table summarizes the ability 
modifiers and features of various nonhuman races, as 
well as various creatures from the Monster Manual with 
a challenge rating lower than 1. Apply these modifiers 
and add these features to the NPC s star block, then 
determine the NPC’s challenge rating just as you would 
for a monster. Features that can affect a monster's 
challenge rating are listed in the Monster Features table. 
The NPC's proficiency bonus is determined by its level, 
just like a character, rather than by its challenge rating. 

If the monster you want to use isn't listed on the table, 
use the process described below under "Monsters 
with Classes, ' 

Monsters with Glasses 

You can use the rules in chapter 3 of the Players 
Handbook to give class levels to a monster. For example, 
you can turn an ordinary werewolf into a werewolf with 
four levels of the barbarian class (such a monster would 
be expressed as "Werewolf, 4th-level barbarian’). 

Start with the monster's stat block. The monster gains 
all the class features for every class level you add. with 
the following exceptions: 

* The monster doesn't gain the starting equipment of 
the added class, 

* For each class level you add T the monster gains one 
Hit Die of its normal type (based on its size), ignoring 
the class's Hit Die progression. 

* The monster’s proficiency bonus is based on its 
challenge rating, not its class levels. 

Once you finish adding class levels to a monster, 
feel free to tweak its ability scores as you see fit (for 
example, raising the monster s Intelligence score so 
that the monster is a more effective wizard), and make 
whatever other adjustments are needed. You’ll need 
to recalculate its challenge rating as though you had 
designed the monster from scratch. 

Depending on the monster and the number of class 
levels you add to it, its challenge rating might change 
very little or increase dramatically. For example, a 
werewolf that gains four barbarian levels is a much 
greater threat than it was before* In contrast, the hit 
points, spells, and other class features that an ancient 
red dragon gains from five levels of wizard don’t 
increase its challenge rating. 



healing spells* for example, and adding a healing spell 
to the wizard class list would step on the cleric s turf. 


Creating a Spell 

When creating a new spell, use existing spells as 

guidelines. Here are some things to consider: 

- If a spell is so good that a caster would want to use it 
all the time, it might be too powerful for its level. 

* A long duration or large area can make up for a lesser 
effect, depending on the spell, 

- Avoid spells that have very limited use, such as one 
that works only against good dragons. Though such 
a spell could exist in the world, few characters will 
bother to learn or prepare it unless they know in 
advance that doing so will be worthwhile. 

+ Make sure the spell fits with the identity of the class. 
Wizards and sorcerers don’t typically have access to 


Spell Damage __ 

For any spell that deals damage, use the Spell Damage 
table to determine approximately how much damage is 
appropriate given the spell's level. The table assumes 
the spell deals half damage on a successful saving 
throw or a missed attack. If your spell doesn't deal 
damage on a successful save, you can increase the 
damage by 25 percent. 

You can use different damage dice than the ones 
in the table, provided that the average result is about 
the same. Doing so can add a little variety to the spell. 
For example, you could change a cantrip’s damage 
from Id 10 (average 5.5) to 2d4 (average 5). reducing 
the maximum damage and making an average result 
more likely. 


(; H A FT ER | D V N G EON MASTER* S W GRKSH 0,1 * 


2 83 


























Spell Damage 


Spell Level 

One Target 

Multiple Targets 

Cantrip 

ld10 

ld6 

1st 

2dT0 

2d6 

2nd 

3d10 

4d6 

3rd 

SdlO 

6d6 

4th 

6dl0 

7d6 

Sth 

SdlO 

8d6 

6th 

lOdIO 

Hd6 

7th 

ndio 

12d 6 

8th 

12d 10 

13d6 

9th 

1 SdlO 

14d 6 


Healing Spells 

You can also use the Spell Damage table to determine 
how many hit points a healing spell restores. A cantrip 
shouldn’t offer healing. 

Creating a Magic Item 

The magic items in chapter 7. “Treasure" are but a few 
of the magic treasures that characters can discover 
during their adventures. If your p1a}'ers are seasoned 
veterans and you want to surprise them, you can either 
modify an existing item or come up with something new 

Modifyin g an I tem _ 

The easiest way to invent a new item is to tweak an 
existing one. If a paladin uses a flail as her main 
weapon, you could change a holy avenger so that it's a 
flail instead of a sword. You can turn a ring of the ram 
into a wand, or a cloak of protection into a circlet of 
protection , all without altering the item's properties. 

Other substitutions are equally easy. An item that 
deals damage of one type can easily deal damage of 
another type, A flame tongue sword could deal lightning 
damage instead of fire, for example. One capability 
can replace another, so a potion of climbing can easily 
become a potion of stealth. 

You can also modify an item by fusing it with 
properties from another item. For example, you could 
combine the effects of a helm of comprehending 
languages with those of a helm of telepathy into a 
single helmet. This makes the item more powerful 
(and probably increases its rarity), but it won t break 
your game. 

Finally, remember the tools that are provided for 
modifying items in chapter 7, ’Treasure," Giving an item 
an interesting minor property, a quirk, or sentience can 
alter its flavor significantly. 

Creating a New Item 

If modifying an item doesn't quite do the trick, you can 
create one from scratch. A magic item should either let a 
character do something he or she couldn’t do before, or 
improve the character's ability to do something he or she 
can do already. For example, the ring of jumping lets its 
wearer jump greater distances, thus augmenting what 
a character can already do. A ring of the ram , however, 
gives a character the ability to deal force damage. 












The simpler your appn >adi. the easier it is for a 
character to use the item in play. Giving the item 
charges is line, especial h if it has several different 
abilities, but simply deciding that an item is always 
active or can be used a fixed number of times per day is 
easier to manage. 

Power Level 

If you make an item that lets a character kill whatever 
he or she hits with it. that item will likely unbalance your 
game. On the other hand, an item whose benefit rarely 
comes into play isn't much of a reward and probably not 
worth doling out as one. 

Use the Magic Item Power by Rarity table as a guide 
to help you determine how powerful an item should be. 
based on its rarity. 

Magic Item Power by Rarity 


Rarity 

Max Spell Level 

Max Bonus 

Common 

1st 

— 

Uncommon 

3rd 

+1 

Rare 

6th 

+2 

Very rare 

Sth 

+3 

Legendary 

9th 

+4 


Maximum Spell Level. This column of the table 
indicates the highest-level spell effect the item should 
confer in the form of a once-per-day or similarly limited 
property. For example, a common item might confer 
the benefit of a 1 sblevel spell once per day (or just once, 
if it's consumable), A rare, very rare, or legendary item 
might allow its possessor to cast a lower-level spell 
more frequently. 

Maximum Bonus , If an item delivers a static bonus 
to AC. at Lack rolls, saving throws, or ability checks, this 
column suggests an appropriate bonus based on the 
item's rarity. 

Attunement 

Decide w hether the item requires a character to be 
attuned to it to use its properties. Use these rules of 
thumb to help you decide: 

- ff having all the characters in a party pass an item 
around to gain its lasting benefits would be disruptive, 
the item should require attunement, 

* If the item grants a bonus that other items also 
grant, it’s a good idea to require attunement so that 
characters don't try to collect too many of those items. 

Creating New 
Character Options 

If the options for player characters in the Players 
Handbook don't meet all the needs of your campaign, 
consult the following sections for advice on creating 
new race, class, and background options. 

Creating a Race or Subrace 

This section teaches you how to modify existing races, 
as well as create new ones. The most important step in 
customizing or designing races for your campaign is 


to start with the story behind the race or subrace you 
wish to create. Having a firm idea of a race's story in 
your campaign will help you make decisions during the 
creation process. Ask yourself several questions: 

* Why does my campaign need the race to be playable? 

* What does the race look like? 

* How would I describe the race’s culture? 

* Where do the members of this race live? 

* Are there interesting conflicts built into the race's 
history and culture that make the race compelling 
from a storytelling standpoint? 

* What is the race’s relationship to the other 
playable races? 

* What classes and backgrounds are well suited to 
members of the race? 

* What are the race's signature traits? 

* In the case of a new subrace, what sets it apart from 
the other subraces of the parent race? 

Compare the race you have in mind with the other 
race options available to players, to make sure that the 
new race doesn't pale in comparison to the existing 
options (which would result in the race being unpopular) 
or completely overshadow^ them (so that players don’t 
feel as if the other options are inferior). 

When the time comes to design the game elements 
of the race, such as its traits, take a look at the game’s 
existing races and let them inspire you. 

Cosmetic Alterations 

A simple way to modify an existing race is to change 
its appearance. Changes to a race's appearance need 
not affect its game elements. For example, you could 
transform ha 1 flings into anthropomorphic mice without 
changing their racial traits at all. 

Cultural Alterations 

In your world, elves might be desert nomads instead of 
forest dwellers, halflings might live in cloud cities, and 
dwarves might be sailors instead of miners. When you 
change the culture of a race, you can also make minor 
alterations to the races proficiencies and traits to reflect 
that culture. 

For example, imagine that the dwarves of your world 
are seafarers and inventors of gunpowder. You could 
add the pistol and musket to the list of weapons that 
dwarves are proficient with, and give them proficiency 
with waterborne vehicles instead of artisan’s tools. 

These two small changes tell a different story than 
the default assumptions about dwarves in the Player's 
Handbook t without changing the power level of the race. 

Creating a New Subrace 

Creating a new subrace is more involved than making 
some minor tweaks to existing racial features, but it 
does have the advantage of increasing the diversity of 
options for a particular race, rather than replacing some 
options with other ones. 

The follow ing example walks through the creation of 
an elf subrace: the eladrin. This subrace has history in 
the D&D mu hi verse, so vou already have some stories to 
draw' on w hen building its traits. 


chapter 9 


D U N GEQN M ASTER’S WQ EKSH O J j 


285 





Example Subrace: Eladrin 

Creatures of magic with strong ties to nature, eladrin 
live in the twilight realm of the Fey wild. Their cities 
sometimes cross over to the Material Plane, appearing 
briefly in mountain valleys or deep forest glades before 
fading back into the Feywild. 

The elf subraces in the Player's Handbook include 
an ability score increase, a weapon training feature, 
and two or three additional traits. Given the story of 
the eladrin and their magical nature, an increase to an 
eladrin character’s Intelligence is appropriate. There’s 
no need to alter the basic weapon training shared by 
high elves and wood elves. 

An ability that sets the eladrin apart from other elves 
is their ability to step through the boundary between the 
planes* disappearing for a moment before reappearing 
somewhere else* In the game, this is reflected in a 


limited use of the misty step spell* Since misty step is 
a 2nd-level spell, this ability is potent enough that the 
subraee doesn't need additional traits* This leaves us 
with the following features for the eladrin subrace; 

Ability Score Increase, Your Intelligence score 
increases by i . 

Elf Weapon Training. You have proficiency with the 
longsword* shortsword, shortbow, and longbow. 

Fey Step, You can cast the misty step spell once usir^ 
this trait. You regain the ability to do so when you finish 
a short or long rest. 

Creating a New Race 
When creating a race from scratch* begin with the 
story and proceed from there* Compare your creation 
to the other races of your world, and borrow freely 
from the traits of other races. As an example, consider 
the aasimar. a race similar to the tiefling but with a 
celestial heritage. 

Example Race; Aasimar 

Whereas tiefiings have fiendish blood in their veins* 
aasimar are the descendants of celestial beings* These 
folk generally appear as glorious humans with lustrous 
hair, flawless skin, and piercing eyes. Aasimar often 
attempt to pass as humans in order to right wrongs and 
defend goodness on the Material Plane without drawn _ 
undue attention to their celestial heritage. They strive 
to fit into society, although they usually rise to the top. 
becoming revered leaders and honorable heroes. 

You might decide to use the aasimar as a counterpoint 
to the tiefling race. The two races could even be at odds 
reflecting some greater conflict between the forces of 
good and evil in your campaign* 

Here are our basic goals for the aasimar; 

* Aasimar should make effective clerics and paladins, 

* Aasimar should be to celestials and humans what 

tiefiings are to fiends and humans. 

Given that aasimar and tiefiings are like two sides of 
the same coin, the tiefling makes a good starting point 
for coming up with the new race’s traits* Since we warn 
aasimar to be effective paladins and clerics, it makes 
sense to improve their Wisdom and Charisma instead 
Intelligence and Charisma. 

Like tiefiings* aasimar have darkvision. Instead of 
resistance to fire damage, we give them resistance 
to radiant damage to reflect their celestial nature. 
However, radiant damage Isn't as common as fire 
damage, so we give them resistance to necrotic damage 
as well, making them good at facing undead. 

The tiefiing s Infernal Legacy trait is a good model 
for a similar trait to reflect a magical, celestial heritage 
replacing the tiefling's spells with spells of similar leveL 
that more closely match the aasimar's celestial ancestn 
However, the aasimar’s expanded resistance might 
require limiting this trait to basic utility spells. 

Filling in the remaining details, we end up with the 
following racial traits for the aasimar: 

Ability Score Increase. Your Wisdom score increases 
by 1, and your Charisma score increases by 2. 


h after ?> 


L ) t .i N (; E O N M A ST IS ft'S W ORKS H G P 







Age. Aasimar mature at the same rate as humans but 
live a few years longer. 

Alignment . Due to their celestial heritage, aasimar 
are often good. However, some aasimar fall into evil, 
rejecting their heritage. 

Size. Aasimar are built like well-proportioned 
humans. Your size is Medium. 

Speed. Your base walking speed is 30 feet. 

Darkvision. Thanks to your celestial heritage, you 
have superior vision in dark and dim conditions. You 
can see in dim light within 60 feet of you as if it were 
bright light, and in darkness as if it were dim light. You 
can’t discern color in darkness, only shades of gray. 

Celestial Resistance. You have resistance to necrotic 
damage and radiant damage. 

Celestial Legacy. You know the light cantrip. Once 
you reach 3rd level, you can cast the lesser restoration 
spell once with this trait, and you regain the ability to do 
so when you finish a long rest. Once you reach 5th level, 
you can cast the daylight spell once with this trait as a 
3rd-level spell, and you regain the ability to do so when 
you finish a long rest. Charisma is your spellcasting 
ability for these spells. 

Languages. You can speak, read, and write Common 
and Celestial. 

Modifying a Class 

The classes in the Players Handbook capture a wide 
range of character archetypes, but your campaign world 
might have need of something more. The following 
section discusses ways to modify existing classes to 
better serve your games needs. 

Changing Proficiencies 

Changing a class’s proficiencies is a safe and simple way 
to modify a class to better reflect your world. Swapping 
out one skill or tool proficiency for another doesn’t make 
a character any stronger or weaker, but doing so can 
change the flavor of a class in subtle ways. 

For example, a prominent guild of rogues in your 
world might worship a patron deity, performing secret 
missions in that deity’s name. To reflect this cultural 
detail, you could add Religion to the list of skills that a 
rogue character can choose as a proficiency. You could 
even mandate that skill as one of the choices for rogues 
who belong to this guild. 

You can also change armor and weapon proficiencies 
to reflect certain aspects of your world. For example, 
you could decide that the clerics of a particular deity 
belong to an order that forbids the accumulation of 
material goods, other than magic items useful for their 
divine mission. Such clerics carry a staff, but they 
are forbidden from wearing armor or using weapons 
other than that staff. To reflect this, you could remove 
the armor and weapon proficiencies for clerics of this 
faith, making them proficient with the quarterstaff and 
nothing else. You could give them a benefit to make up 
for the loss of proficiencies—something like the monk’s 
Unarmored Defense class feature, but presented as a 
divine blessing. 


Changing Spell Lists 

Modifying a class’s spell list usually has little effect on 
a character’s power but can change the flavor of a class 
significantly. In your world, paladins might not swear 
their oaths to ideals, but instead swear fealty to powerful 
sorcerers. To capture this story concept, you could build 
a new paladin spell list with spells meant to protect 
their masters, drawn from the sorcerer or wizard lists. 
Suddenly, the paladin feels like a different class. 

Be cautious when changing the warlock spell list. 
Since warlocks regain their spell slots after a short rest, 
they have the potential to use certain spells more times 
in a day than other classes do. 

Restricting Class Access 

Without changing the way a class functions, you can 
root it more firmly in the world by associating the class 
with a particular race or culture. 

For example, you might decide that bards, sorcerers, 
warlocks, and wizards represent the magical traditions 
of four different races or cultures. The bardic colleges 
might be closed to everyone except elves, dragonborn 
might be the only creatures capable of becoming 
sorcerers, and all warlocks in your world might be 
human. You could break that down still further: bards 
of the College of Lore could be high elves, and bards 
of the College of War could be wood elves. Gnomes 
discovered the school of illusion, so all wizards who 
specialize in that school are gnomes. Different human 
cultures produce warlocks with different pacts, and 
so on. Similarly, different cleric domains might reflect 
entirely separate religions associated with different 
races or cultures. 

You decide how flexible you want to be in allowing 
a player character to break these restrictions. Can a 
half-elf live among the elves and study their bardic 
traditions? Can a dwarf stumble into a warlock pact 
despite having no connection to a culture that normally 
produces warlocks? As always, it’s better to say yes and 
use the players desire as an opportunity to develop the 
character’s story and that of your world, rather than 
shutting down possibilities. 

Substituting Class Features 

If one or more features of a given class don’t exactly 
fit the theme or tone of your campaign, you can pull 
them out of the class and replace them with new 
ones. In doing so, you should strive to make sure 
that the new options are just as appealing as the 
ones you are removing, and that the substitute class 
features contribute to the class’s effectiveness at social 
interaction, exploration, or combat just as well as those 
being replaced. 

Ultimately, a class exists to help a player express a 
particular character concept, and any class feature you 
replace is also removing an aspect of that character. 
Substituting a class feature should be done only to fit a 
specific need for your campaign, or to appeal to a player 
trying to create a specific kind of character (perhaps one 
modeled after a character from a novel, TV series, comic 
book, or movie). 


CHAPTER 9 


DUNGEON MASTER'S WORKSHOP 


287 





The first step is to figure out what class feature or 
group of class features you're going to replace. Then 
you need to evaluate what each feature provides to the 
class, so that the features you are adding don't make the 
class over- or underpowered. Ask yourself the following 
questions about a feature youVe replacing: 

* What impact does replacing the feature have on 
exploration, social interaction, or combat? 

* Does replacing the feature affect how long the party 
can continue adventuring in a day? 

- Does the feature consume resources provided 
elsewhere in the class? 

* Does the feature work all the time, or is it regained 
after a short rest, a long rest, or some other 
length of time? 

Armed with answers to these questions, you can start 
designing new features that replace the ones you are 
removing. It's fine if the new class features drift closer 
to exploration, social interaction, or combat than the 
ones you are replacing, hut be wary of going too far. 

For example, if you replace an exploration-focused 
feature with something purely combat focused, youVe 
just made that class more powerful in combat, and it 
could overshadow the other classes in a way that you 
didn't intend. 

There’s no formula that can tell you how to design 
new class features. The best place to start is by looking 
at other class features, or at spells, feats, or any other 
rules for inspiration. You're almost certainly going to 
have some missteps, as features that seem good on the 
surface fall apart in play. That's all right. Everything 
you design will need to be play tested. When introducing 
new class features, be sure the players using them are 
com for table with the fact that you might need to go back 
and make some changes after seeing them in play. 

Creating New Class Options 

Each class has at least one major choice point. Clerics 
choose a divine domain, fighters choose a martial 
archetype, wizards choose an arcane tradition, and 
so forth. Creating a new option doesn't require you to 
remove anything from the class, but any new option 
you add should be compared to existing options to 
make sure it's no more or less powerful, yet remains 
distinctive in flavor. Like anything in class design, be 
prepared to play test your ideas and make changes if 
things aren’t playing out the way you want them to. 


Once you have the concept for the class option in 
mind, it’s time to design the specifics. If you're not sur- 
wherc to begin, look at the existing options and see w'nM 
class features they provide. It’s perfectly acceptable fbr 
two class options to have similar features, and it's als: 
fine to look at other classes for examples of mechanics 
you can draw on for inspiration. As you design each 
class feature, ask the following questions: 

* How does the class feature reinforce the story or 
theme of the class option? 

- Is there an existing feature that can be used 
as a model? 

« How does the new class feature compare to other 
features of the same level? 

Variant: Spell Points 

One way to modify how a class feels is to change how :t 
uses its spells. With this variant system, a character v 
has the Spellcasting feature uses spell points instead of 
spell slots to fuel spells. Spell points give a caster more 
flexibility, at the cost of greater complexity. 

In th is variant, each spell has a point cost based on its 
level. The Spell Point Cost table summarizes the cos: ~ 
spell points of slots from 1st to 9th level. Cantrips don't 
require slots and therefore don’t require spell points. 
Instead of gaining a number of spell slots to cast you" 
spells from the Spellcasting feature, you gain a pool 
of spell points instead. You expend a number of spell 
points to create a spell slot of a given level, and then us>t 
that slot to cast a spell. You can't reduce your spell p 
total to less than 0, and you regain all spent spell poir - 
when you finish a tong rest. 

Spells of 6th level and higher are particularly taxing i 
cast. You can use spell points to create one slot of each 
level of 6th or higher. You can't create another slot of h - 
same level until you finish a long rest. 

The number of spell points you have to spend is base d 
on your level as a spellcaster. as shown in the Spell 
Points by Level table. Your level also determines the 
maximum-level spell slot you can create. Even though 
you might have enough points to create a slot above this 
maximum, you can't do so. 

The Spell Points by Level table applies to bards, 
clerics, druids, sorcerers, and wizards. For a paladin ~ 
ranger, halve the character's level in that class and then 
consult the table. For a fighter (Eldritch Knight) or rogve 
(Arcane Trickster), divide the character’s level in that 
class by three. 

This system can be applied to monsters that cast 
spells using spell slots, but it isn't recommended that 
you do so. Tracking spell point expenditures fora 
monster can be a hassle. 


Spell Point Cost 


Spell Level 

Point Cost 

Spell Level 

Point ( 

1st 

2 

5th 

7 

2nd 

3 

6th 

9 

3rd 

5 

7th 

10 

4th 

6 

3th 

11 



9th 

13 


C H A PT E R 9 | D V N G E O N M A Si E k‘S WORKSHOP 












Spell Points by Level 


Class Level 

Spell Points 

Max Spell Level 

1st 

4 

1st 

2nd 

6 

1st 

3rd 

14 

2nd 

4th 

17 

2nd 

5th 

27 

3rd 

6th 

32 

3rd 

7th 

38 

4th 

8th 

44 

4th 

9 th 

57 

5 th 

10th 

64 

5th 

11th 

73 

6th 

12th 

73 

6th 

13th 

83 

7th 

14th 

83 

7th 

15th 

94 

8th 

16th 

94 

8th 

17th 

107 

9th 

18th 

114 

9th 

19th 

123 

9 th 

20th 

133 

9th 


Creating a Background 

A well-crafted background can help a player create a 
character that feels like an exciting addition to your 
campaign* It helps define the character's place in the 
world, rather than what a character is in terms of game 
mechanics. 

Instead of focusing on a generic character 
background, such as merchant or wanderer, think 
about the factions* organizations, and cultures of 
your campaign and how they might be leveraged to 
create flavorful backgrounds for player characters. For 
example, you could create an acolyte of Candlekeep 
background that is functionally similar to a sage 
background* but which ties a character more closely to a 
place and organization in your world. 

A character with the acolyte of Candlekeep 
background probably has friends among the 
Avowed—the monks who maintain the great library 
at Candlekeep. The character can enter the library 
and consult its lore freely, while others must donate 
a rare or valuable tome of knowledge before they are 
allowed entry. Candlekeeps enemies are the character s 
enemies* and its allies, the characters friends. Acolytes 
of Candlekeep are generally regarded as learned sages 
and protectors of knowledge. It s possible to envision 
many interesting interactions as NPCs discover the 
character's background and approach the character in 
search of assistance. 

To create your own background* follow these steps. 

Step L Root It in Your World 

To ground a new background in your campaign's 
setting, determine what elemeni of your campaign the 
background is tied to: a faction, an organization, a trade* 
a person, an event, or a location. 


Step 2. Suggest Personal Characteristics 

Create tables of suggested characteristics—personality 
traits, ideals* bonds* and flaws—that fit the background* 
or plunder entries from the tables presented in the 
Players Handbook. Even if your players don't use 
the tables* this step helps you paint a picture of the 
background's place in your world* The tables need not 
be extensive; two or three entries per table are enough. 

Step 3* Assign Proficiencies or Languages 
Choose two skill proficiencies and two tool proficiencies 
for the background* You can replace tool proficiencies 
with languages on a one-for-one basis. 

Step 4* Include Starting Equipment 
Make sure your background offers a package of starting 
equipment. In addition to a small amount of money that 
a character can use to buy adventuring gear, the starting 
equipment should include items that a character would 
have acquired prior to becoming an adventurer, as well 
as one or two items unique to the background. 

For example, starting equipment for a character with 
the acolyte of Candlekeep background might include a 
set of traveler s clothes* a scholar's robe, five candles, 
a tinderbox. an empty scroll case engraved with the 
symbol of Candlekeep, and a belt pouch containing 10 
gp. The scroll case might be a gift given to an acolyte of 
Candlekeep who embarks on a life of adventure. At your 
discretion, it might also contain a useful map. 

Step 5. Settle on a Background Feature 
Choose an existing background feature or create a new 
one, as you prefer. If you choose an existing feature, add 
or tweak a few details to make it unique. 

For example, the acolyte of Candlekeep background 
might have the Researcher feature of the sage (as 
presented in the Player's Handbook), with the additional 
benefit that the character is allowed to enter Candlekeep 
without paying the normal cost, 

A background feature should avoid strict game 
benefits, such as a bonus to an ability check or an attack 
roll* Instead, the feature should open up new options for 
roleplaying, exploring* and otherwise interacting with 
the world* 

For example, the sage's Researcher feature is 
designed to send the character on adventures. It doesn't 
provide information or an automatic success for a check. 
Instead, if a character with the sage background fails 
to recall information, he or she instead knows where to 
learn it. This might bo a pointer to another sage or to a 
library long lost within an ancient tomb. 

The best background features give characters 
a reason to strike out on quests* to make contact 
with MFCs, and to develop bonds to the setting 
you've devised. 



CHAPTER 9 | DUNGEON MASTER'S WORKSHOP 








Appendix A: Random Dungeons 


H IS A PPENDIX 11ELPS YOU QUICKLY GE N ER ATE 
a dungeon. The tables work in an iterative 
manner First, roll a starting area, then roll to 
determine the passages and doors found in 
that area. One you have initial passages and 
doors, determine the location and nature of 
subsequent passages, doors, chambers, stairs, and so 
on—each of them generated by rolls on different tables. 

Following these instructions can lead to sprawling 
complexes that more than till a single sheet of graph 
paper. If you want to constrain the dungeon, establish 
limits ahead of time on how far it can grow. 

The most obvious limit to a dungeon s size is the 
graph paper it’s drawn on. If a feature would exceed 
the boundaries of the page, curtail it. A corridor might 
turn or come to a dead end at the map's edge, or you can 
make a chamber smaller to fit the available space. 

Alternatively, you can decide that passages leading off 
the edge of the map arc additional dungeon entrances. 
Stairs, shafts, and other features that would normally 
lead to levels you don’t plan to map can serve a 
similar purpose. 

Starting Area 

The Starting Area table produces a chamber or a set of 
corridors at the entrance to your dungeon. When rolling 
for a random starting area, pick one of the doors or 
passages leading into the starting area as the entrance 
to the dungeon as a whole. 

Once you've selected the entrance, roll on the 
appropriate table for each passage or door leading away 
from the starting area. Passages each extend 10 feet 
beyond the starling area. After that point, check on the 
Passage table for each passage to determine what lies 
beyond. Use the Beyond a Door table to determine what 
lies behind doors and secret doors. 

Starting Area 

dlO Configuration 

1 Square, 20 x 20 ft.; passage on each wall 

2 Square, 20 x 20 ft.; door on two walls, passage in 

third wall 

3 Square, 40 x 40 ft.; doors on three walls 

4 Rectangle, 80 x 20 ft., with row of pillars down the 

middle; two passages leading from each long wall, 
doors on each short wall 

5 Rectangle, 20 x 40 ft,; passage on each wall 

6 Circle, 40 ft. diameter; one passage at each 
cardinal direction 

7 Circle, 40 ft, diameter; one passage in each 
cardinal direction; well in middle of room (might 
lead down to lower level) 

8 Square, 20 x 20 ft,; door on two walls, passage on 
third wall, secret door on fourth wall 

9 Passage, 10 ft. wide; T intersection 

10 Passage, 10 ft, wide; four-way intersection 



Passages 

When generating passages and corridors, roll on the 
Passage table multiple times, extending the length and 
branches of any open passage on the map until you 
arrive at a door or chamber. 

Whenever you create a new passage, roll to determine 
its width. If the passage branches from another passage, 
roll a dl2 on the Passage Width table. If it comes from 
a chamber, roll a d20 on that table, but the width of the 
passage must be at least 5 feet smaller than the longest 
dimension of the chamber. 


Passage 

d20 Detail 

1-2 Continue straight 30 ft,, no doors or side passage: 

3 Continue straight 20 ft, door to the right, then an 

additional 10 ft. ahead 

4 Continue straight 20 ft, door to the left, then an 
additional 10 ft. ahead 

5 Continue straight 20 ft.; passage ends in a door 

6-7 Continue straight 20 ft,, side passage to the righ; 

then an additional 10 ft. ahead 

8-9 Continue straight 20 ft,, side passage to the left, 
then an additional 10 ft. ahead 

10 Continue straight 20 ft,, comes to a dead end; 10 
percent chance of a secret door 

11-12 Continue straight 20 ft., then the passage turns 
left and continues 10 ft. 

13-14 Continue straight 20 ft. f then the passage turns 
right and continues 10 ft. 

15-19 Chamber (roll on the Chamber table) 

20 Stairs* (roll on the Stairs table) 

* The existence of stairs presumes a dungeon with more tha-' 
one level. If you don’t want a multilevel dungeon, reroll this 
result use the stairs as an alternative entrance, or replace the ~ 
with another feature of your choice. 


Passage Width 

dl2/d20 Width 

1-2 5 ft. 

3-12 10 ft 

13-14 20 ft. 

15-16 30 ft, 

17 40 ft,,, with row of pillars down the middle 

18 40 ft,, with double row of pillars 

19 40 ft. wide, 20 ft. high 

20 40 ft. wide, 20 ft. high, gallery 10 ft. above floor 

allows access to- level above 






A V P E N DIX A | RANDOM D U N G E O N S 




Doors 

Whenever a table roll indk r- - 1 n roll on the Door 

Type table to determine [-.* ^ r then roll on the 

Beyond a Door table 10 se^ what lies on the other side of 
it. If a door is barred, you dec ide % hich side of the door 
the bar is on. Unlocked : rs can also be stuck, at vour 
discretion. See chapter 5. ire Environments/* 

for information on doors and portcullises. 

Door Type 


d20 

Door Type 

1-10 

Wooden 

11-12 

Wooden, barred O" lockeo 

13 

Stone 

14 

Stone, barred or loc^ee 

15 Iron 

16 

Iron, barred or locked 

17 

Portcullis 

18 

Portcullis, locked in place 

19 

Secret door 

20 

Secret door, barred or locked 

Beyond a Door 

d20 

Feature 

1-2 

Passage extending 10 ft,, then T intersection 
extending 10 ft. to the right and left 

3-8 

Passage 20 ft, straight ahead 

9-18 

Chamber (roll on the Chamber table) 

19 

Stairs (roll on the Stairs table) 

20 

False door with trap 

Chambers 

Whenever a roll on a table indicates a chamber, use the 
Chamber table to define its dimensions. Then roll on the 
Chamber Exits table to determine the number of exits. 
For each exit, roll on the Exit Location and Exit Type 
tables to determine the nature and placement of the exit. 

Use the tables in the “Stocking a Dungeon ’ section to 
determine the contents of a chamber. 

Chamber 

d20 

Chamber 

1-2 

Square, 20 x 20 ft. 

3-4 

Square, 30 x 30 ft. 

5-6 

Square, 40 x 40 ft. 

7-9 

Rectangle, 20 x 30 ft 1 

10-12 

Rectangle, 30 x 40 ft. ! 

13-14 

Rectangle, 40 x 50 ft 

15 

Rectangle, 50 x 80 ft. 2 

16 

Circle, 30 ft. diameter 

17 

Circle, 50 ft. diameter 2 

18 

Octagon, 40 x 40 ft. 

19 

Octagon, 60 x 60 ft. 2 

20 

Trapezoid, roughly 40 x 60 ft, 2 

' Use the N 

ormal Chamber column on the Chamber Exits table. 

z Use the Large Chamber column on the Chamber Exits table. 


Large Chamber 
0 

1 
2 
2 
3 

3 

4 

5 

6 

Exit Location 

d20 Location 
1-7 Wat I o p pos i te entra nee 

8-12 Wall left of entrance 
13-17 Wall right of entrance 

18-20 Same wall as entrance 


Chamber Exits 

d2G Normal Chamber 

1-3 0 

4-5 0 

6-8 1 

9-11 1 

12-13 2 

14-15 2 

16-17 3 

18 3 

19 4 

20 4 


Exit Type 

d20 Type 

I- 10 Door (roll on the Door Type table) 

II- 20 Corridor, 10 ft. long 


Stairs 

Stairs can include any means of going up and down, 
including ramps, chimneys, open shafts, elevators, and 
ladders. If your dungeon has more than one level, the 
amount of space between levels is up to you, A distance 
of 30 feet works line for most dungeons. 


Stairs 


d20 Stairs 

1-4 Down one level to a chamber 

5-8 Down one level to a passage 20 ft. long 

9 Down two levels to a chamber 

10 Down two levels to a passage 20 ft, long 

11 Down three levels to a chamber 


12 Down three levels to a passage 20 ft. long 

13 Up one level to a chamber 

14 Up one level to a passage 20 ft, long 

15 Up to a dead end 

16 Down to a dead end 

17 Chimney up one level to a passage 20 ft. long 

18 Chimney up two levels to a passage 20 ft. long 

19 Shaft (with or without elevator) down one level to 
a chamber 


20 Shaft (with or without elevator) up one level to a 
chamber and down one level to a chamber 






AP PEN D! X A i R A N 0G M D U N (5 EON S 


201 






















292 


Connecting Areas 

When your map is done, consider adding doors between 
chambers and passages that are next to each other but 
otherwise not connected. Such doors create more paths 
through the dungeon and expand players' options. 

If your dungeon consists of more than one level, be 
sure that any stairs* pits, and other vertical passages 
line up between levels. If you Ye using graph paper, 
lay a new page on top of your existing map, mark the 
locations of stairs and other features shared by the two 
levels, and begin mapping the new level. 

Stocking a Dungeon 

Creating a map for your dungeon is only half the fun. 
Once you have the layout, you need to decide what 
challenges and rewards are to be found in the dungeon’s 
passages and chambers. Any reasonably large space 
should be stocked with interesting sights, sounds, 
objects, and creatures. 

You don't need to have every last detail of your 
dungeon plotted out. You can get by with nothing more 
than a list of monsters, a list of treasures, and a list of 
one or two key elements for each dungeon area. 

Chamber Purpose ___ 

A room's purpose can help determine its furnishings 
and other contents. 

For each chamber on your dungeon map. establish its 
purpose or use the tables below to generate ideas. Each 
type of dungeon described in the “Dungeon Purpose” 


\ PPliNDJX A RA H DOM DIJNGEONS 


section of chapter 5* “Adventure Environments,” has its 
own table featuring chambers geared to the dungeon’s 
purpose. For example, if you're building a tomb, use the 
Dungeon: Tomb table to help you determine the purpose 
of each chamber. These dungeon-specific tables are 
followed by the General Dungeon Chambers table, 
which you can use if your dungeon isn't an exact fit for 
one of the standard types of dungeon or if you want to 
mix things up. 

Relying on random rolls to stock an entire dungeon 
can lead to incongruous results. A tiny room might end 
up being identified as a temple, while the huge chamber 
next door serves as storage. It can be fun to try to make 
sense of such strange design ideas, but make changes 
as you see fit. You can set aside a few' key rooms and 
create specific contents for them. 

Dungeon: Death Trap 

d20 

1 

2-8 
9-11 


12-14 

15-19 

20 


Purpose 

Antechamber or waiting room for spectators 
Guardroom fortified against intruders 
Vault for holding important treasures, accessible 
only by locked or secret door (75 percent chance 
of being trapped) 

Room containing a puzzle that must be solved to 
bypass a trap or monster 
Trap designed to kill or capture creatures 
Observation room , allowing guards or spectators 
to observe creatures moving through the dungeon 














Dungeon: Lair 


Dungeon: Planar Cate 


d20 Purpose 

1 Armory stocked with weapons and armor 

2 Audience chamber, used to receive guests 

3 Banquet room for important celebrations 

4 Barracks where the lair’s defenders are quartered 

5 Bedroom, for use by leaders 

6 Chapel where the lair’s inhabitants worship 

7 Cistern or well for drinking water 

8-9 Guardroom for the defense of the lair 

10 Kennel for pets or guard beasts 

11 Kitchen for food storage and preparation 

12 Pen or prison where captives are held 
13-14 Storage, mostly nonperishable goods 

15 Throne room where the lair’s leaders hold court 

16 Torture chamber 

17 Training and exercise room 

18 Trophy room or museum 

19 Latrine or bath 

20 Workshop for the construction of weapons, armor, 

tools, and other goods 

Dungeon: Maze 

d20 Purpose 

I Conjuring room, used to summon creatures that 
guard the maze 

2-5 Guardroom for sentinels that patrol the maze 
6-10 Lair for guard beasts that patrol the maze 

II Pen or prison accessible only by secret door, used 
to hold captives condemned to the maze 

12 Shrine dedicated to a god or other entity 
13-14 Storage for food, as well as tools used by the maze’s 
guardians to keep the complex in working order 
15-18 Trap to confound or kill those sent into the maze 

19 Well that provides drinking water 

20 Workshop where doors, torch sconces, and other 
furnishings are repaired and maintained 

Dungeon: Mine 

d20 Purpose 

1-2 Barracks for miners 

3 Bedroom for a supervisor or manager 

4 Chapel dedicated to a patron deity of miners, 
earth, or protection 

5 Cistern providing drinking water for miners 

6-7 Guardroom 

8 Kitchen used to feed workers 

9 Laboratory used to conduct tests on strange 
minerals extracted from the mine 

10-15 Lode where metal ore is mined (75 percent chance 
of being depleted) 

16 Office used by the mine supervisor 

17 Smithy for repairing damaged tools 
18-19 Storage for tools and other equipment 

20 Strong room or vault used to store ore for 
transport to the surface 


d100 Purpose 

01-03 Decorated foyer or antechamber 
04-08 Armory used by the portal’s guardians 
09-10 Audience chamber for receiving visitors 
11-19 Barracks used by the portal’s guards 
20-23 Bedroom for use by the high-ranking members of 
the order that guards the portal 
24-30 Chapel dedicated to a deity or deities related to 
the portal and its defenders 
31-35 Cistern providing fresh water 
36-38 Classroom for use of initiates learning about the 
portal’s secrets 

39 Conjuring room for summoning creatures used to 
investigate or defend the portal 
40-41 Crypt where the remains of those that died 
guarding the portal are kept 
42-47 Dining room 

48-50 Divination room used to investigate the portal and 
events tied to it 

51-55 Dormitory for visitors and guards 

56-57 Entry room or vestibule 

58-59 Gallery for displaying trophies and objects related 
to the portal and those that guard it 
60-67 Guardroom to protect or watch over the portal 
68-72 Kitchen 

73-77 Laboratory for conducting experiments relating to 
the portal and creatures that emerge from it 
78-80 Library holding books about the portal’s history 
81-85 Pen or prison for holding captives or creatures 
that emerge from the portal 

86-87 Planar junction, where the gate to another plane 
once stood (25 percent chance of being active) 
88-90 Storage 

91 Strong room or vault, for guarding valuable 

treasures connected to the portal or funds used to 
pay the planar gate's guardians 
92-93 Study 

94 Torture chamber, for questioning creatures 

that pass through the portal or that attempt to 
clandestinely use it 
95-98 Latrine or bath 

99-00 Workshop for constructing tools and gear needed 
to study the portal 




APPENDIX A | RANDOM DUNGEONS 




293 
















Dungeon: Stronghold 

dIOG Purpose 

Antechamber where visitors seeking access to the 
stronghold wait 

Armory holding high-quality gear, including light 
siege weapons such as baliistas 
Audience chamber used by the master of the 
stronghold to receive visitors 
Aviary or zoo for keeping exotic creatures 
Banquet room for hosting celebrations and guests 
Barracks used by elite guards 
Bath outfitted with a marble floor and other 
luxurious accoutrements 
Bedroom for use by the stronghold's master or 
important guests 

Chapel dedicated to a deity associated with the 
stronghold's master 
Cistern providing drinking water 
Dining room for intimate gatherings or informal 
meals 

Dressing room featuring a number of wardrobes 
Gallery for the display of expensive works of art 
and trophies 

Game room used to entertain visitors 
Guardroom 

Kennel where monsters or trained animals that 
protect the stronghold are kept 
Kitchen designed to prepare exotic foods for large 
numbers of guests 

Library with an extensive collection of rare books 
Lounge used to entertain guests 
Pantry, including cellar for wine or spirits 
Sitting room for family and intimate guests 
Stable 

Storage for mundane goods and supplies 
Strong room or vault for protecting important 
treasures (75 percent chance of being hidden 
behind a secret door) 

Study, including a writing desk 
Throne room, elaborately decorated 
Waiting room where lesser guests are held before 
receiving an audience 
Latrine or bath 

Crypt belonging to the stronghold's master or 
someone else of importance 


01-02 

03-05 

06 

07 

OS-11 

12-15 

16 

17 

18 

19-21 

22-25 

26 

27-29 

30-32 

33-50 

51 

52-57 

58-61 

62 

63-70 

71-74 

75-78 

79-86 

87 


88-92 

93 

94-96 

97-98 

99-00 


Dungeon: Temple or Shrine 

dlOO Purpose 

Armory filled with weapons and armor, battle 
banners, and pennants 

Audience chamber where priests of the temple 
receive commoners and low-ranking visitors 
Banquet room used for celebrations and holy days 
Barracks for the temple's military arm or its hired 
guards 

Cells where the faithful can sit in quiet 
contemplation 

Central temple built to accommodate rituals 
Chapel dedicated to a lesser deity associated with 
the temple’s major deity 
Classroom used to train initiates and priests 
Conjuring room, specially sanctified and used to 
summon extraplanar creatures 
Crypt for a high priest or similar figure, hidden and 
heavily guarded by creatures and traps 
Dining room (large) for the temple’s servants and 
lesser priests 

Dining room (small) for the temple's high priests 
Divination room, inscribed with runes and stocked 
with soothsaying implements 
Dormitory for lesser priests or students 
Guardroom 

Kennel for animals or monsters associated with 
the temple’s deity 

Kitchen (might bear a disturbing resemblance to a 
torture chamber in an evil temple) 

Library, well stocked with religious treatises 
Prison for captured enemies (in good or neutral 
temples) or those designated as sacrifices (in evil 
temples) 

Robing room containing ceremonial outfits and 
items 

Stable for riding horses and mounts belonging 
to the temple, or for visiting messengers and 
caravans 

Storage holding mundane supplies 
Strong room or vault holding important relics and 
ceremonial items, heavily trapped 
Torture chamber, used in inquisitions (in good or 
neutral temples with a lawful bent) or for the sheer 
joy of causing pain (evil temples) 

Trophy room where art celebrating key figures and 
events from mythology is displayed 
Latrine or bath 

Well for drinking water, deferrable in the case of 
attack or siege 

Workshop for repairing or creating weapons, 
religious items, and tools 


01-03 

04-05 

06-07 

08-10 

11-14 

15-24 

25-28 

29-31 

32-34 

35-40 

41-42 

43 

44-46 

47-50 

51-56 

57 

58-60 

61-65 

66-68 


69-73 


74 


75-79 

80 

81-82 


83-89 

90 

91-94 

95-00 


2$4 


APPENDIX. A l RANDOM DUNGEONS 
































HAMBERS 



ft I 


Dungeon: Tomb 

d20 Purpose 

1 Antechamber for those that have come to pay 
respect to the dead or prepare themselves for 
burial rituals 

2- 3 Chapel dedicated to deities that watch over the 

dead and protect their resting places 
4-3 Crypt for less important burials 

9 Divination room, used in rituals to contact the 
dead for guidance 

10 False crypt (trapped) to kill or capture thieves 

111 Gallery to display the deeds of the deceased 

through trophies, statues, paintings and so forth 

12 Grand crypt for a noble, high priest, or other 
important individual 

13-14 Guardroom, usually guarded by undead, 

constructs, or other creatures that don’t need to 
eat or sleep 

15 Robing room for priests to prepare for burial rituals 
16-17 Storage, stocked with tools for maintaining the 
tomb and preparing the dead for burial 

13 Tomb where the wealthiest and most important 
folk are interred, protected by secret doors and 
traps 

19-20 Worksh op for embal m ing the dead 

Dungeon: Treasure Vault 

d20 Purpose 

1 Antechamber for visiting dignitaries 

2 Armory containing mundane and magic gear used 

by the treasure vault's guards 

3- 4 Barracks For guards 

5 Cistern providing fresh water 

6-9 Guardroom to defend against intruders 

10 Kennel for trained beasts -sec to guard the 


01 

Antechamber 

53-54 

Laboratory 

02-03 

Armory 

55-57 

Library 

04 

Audience 

5S-59 

Lounge 


chamber 

60 

Meditation 

05 

Aviary 


chamber 

06-07 

Banquet room 

61 

Observatory 

08-10 

Barracks 

62 

Office 

11 

Bath or latrine 

63-64 

Pantry 

12 

Bedroom 

65-66 

Pen or prison 

13 

Bestiary 

67-68 

Reception room 

14-16 

Cell 

69-70 

Refectory 

17 

Chantry 

m 

Robing room 

IS 

Chapel 

72 

Salon 

19-20 

Cistern 

73-74 

Shrine 

21 

Classroom 

75-76 

Sitting room 

22 

Closet 

77^78 

Smithy 

2 3 ”24 

Conjuring room 

79 

Stable 

25-26 

Court 

80-81 

Storage room 

27-29 

Crypt 

S2-S3 

Strong room 

30-31 

Dining room 


or vault 

32-33 

Divination room 

84-85 

Study 

34 

Dormitory 

S6-88 

Temple 

35 

Dressing room 

89-90 

Throne room 

36 

Entry room or 

91 

Torture chamber 


vestibule 

92-93 

Training or 

37-38 

Gallery 


exercise room 

39-40 

Game room 

94-95 

Trophy room 

41-43 

Guardroom 


or museum 

44-45 

Hall 

96 

Waiting room 

46-47 

Hall, great 

97 

Nursery or 

43-49 

Hallway 


schoolroom 

50 

Kennel 

98 

Well 

51-52 

Kitchen 

99-00 

Workshop 


Current Chamber State 


If a dungeon has a tumultuous history, you can roll to 
determine the current condition of any particular area. 
Otherwise, if the room is still used for its intended 
purpose, it remains intact. 

Current Chamber State 



treasure vault 

d20 

Features 

11 

Kitchen for feec ng gua r ds 

1-3 

Rubble, ceiling partially collapsed 

12 

Watch room that a cw$ guaros to observe those 

4-5 

Holes, floor partially collapsed 


who approach the dungeon 

6-7 

Ashes, contents mostly burned 

13 

Prison for holding captured ntruders 

8-9 

Used as a campsite 

14-15 

Strong room or vault. for guarding the treasure 
hidden in the dunge: - accessible on . by locked 

10-11 

Pool ofwater; chamber’s original contents are 
water damaged 


or secret door 

12-16 

Furniture wrecked but still present 

16 

Torture chamber e Grac: rg ^formation from 
captured intruders 

17-13 

Converted to some other use (roll on the General 
Dungeon Chambers table) 

17-20 

Trap or othe r :r des g^ec :: ■ or capture 

19 

Stripped bare 


creatures that e^te■ :r-e :zee - 

20 

Pristine and in original state 


APPENDIX A I R AN DOM DUNG EONS 


395 














might slumber on the first level of a dungeon, a pall of 
smoke and the sound of its heavy breathing filling the 
chambers near its lain Clever characters will do their 
utmost to avoid the dragon, even as the party's brave 
thief makes off with a few coins from its hoard. 

Not all monsters are automatically hostile. When 
placing monsters in your dungeon, consider their 
relationships to nearby creatures and their attitudes 
toward adventurers. Characters might be able to 
appease a hungry beast by offering it food, and smarter 
creatures have complex motivations. The Monster 
Motivation table lets you use a monster's goals to define 
its presence in the dungeon. 

For large groups of monsters encountered across 
multiple chambers, motivation could apply to the entire 
group, or each subgroup could have conflicting goals. 


Monster Motivation 


d2G 

Goals 

d20 

Goals 

1-2 

Find a sanctuary 

12-13 

Hide from 

3-5 

Conquer the 


enemies 


dungeon 

14-15 

Recover from a 

6-8 

Seek an item in 


battle 


the dungeon 

16-17 

Avoid danger 

9-11 

Slay a rival 

18-20 

Seek wealth 


Random Dungeon Hazards 

Hazards are rarely found in inhabited areas, because 
monsters either clear them away or avoid them. 

Shnekersand violet fungi are described in the 
Monster Manual. The other hazards on the table are 
described in chapter 5, ' Adventure Environments," 


Once you have a sense of the purpose of the various 
dungeon chambers, you can think about the contents 
of those areas. The Dungeon Chamber Contents table 
allows you to randomly roll contents for a chamber, or 
you can choose contents for specific areas. If you choose 
contents, be sure to include an interesting, colorful 
assortment of things. In addition to the contents shown 
on this table, refer to “Dungeon Dressing' later in this 
appendix for additional items and elements to fill rooms. 

In the Dungeon Chamber Contents table, a " dominant 
inhabitant" is a creature that controls an area. Pets 
and allied creatures are subservient to the dominant 
inhabitant, " Random creatures ' are scavengers or 
nuisances, usually lone monsters or small groups 
passing through the area. They include such creatures 
as carrion crawlers, dire rats, gelatinous cubes, and rust 
monsters. See chapter 3. “Creating Adventures," for 
more information on random encounters. 

Dungeon Chamber Contents 

dlOO Contents 

01-08 Monster (dominant inhabitant) 

09-15 Monster (dominant inhabitant) with treasure 

16-27 Monster (pet or allied creature} 

28-33 Monster (pet or allied creature) guarding treasure 
34-42 Monster (random creature) 

43-50 Monster (random creature) with treasure 

51-58 Dungeon hazard (see " Random Dungeon 


Chamber Contents 




Hazards”) with incidental treasure 
59-63 Obstacle (see ‘Random Obstacles") 

64-73 Trap (see "Random Traps”) 

74-76 Trap (see "Random Traps”) protecting treasure 
77-80 Trick (see “Random Tricks") 

81-88 Empty room 


Dungeon Hazards 


d2 0 

Hazard 

d20 

Hazard 

1-3 

Brown mold 

11-15 

Spiderwebs 

4-8 

Green slime 

16-17 

Violet fungus 

9-10 

Shrieker 

18-20 

Yellow mold 


89-94 Empty room with dungeon hazard (see "Random 
Dungeon Hazards") 

95-00 Empty room with treasure 


Random Obstacles 

Obstacles block progress through the dungeon. In some 
cases, what adventurers consider an obstacle is an 


Monsters and Motivations 

See chapter 3, "Creating Adventures," for guidance on 
creating encounters with monsters. To foster variety 
and suspense, be sure to include encounters of varying 
difficulty. 

A powerful creature encountered early in the dungeon 
sets an exciting tone and forces the adventurers to 
rely on their wits. For example, an ancient red dragon 


easy path for the dungeon s inhabitants. For example, 
a flooded chamber is a barrier to many characters but 
easily navigated by water-breathing creatures. 

Obstacles can affect more than one room. A chasm 
might run through several passages and chambers, 
or send cracks through the stonework in a wider area 
around it. An area of battering winds that emanates 
from a magic altar could stir the air less dangerously for 
hundreds of feet in all directions. 


296 


■ 


APPENDSX A i RANDOM DUNGEONS 
























Obstacles 

d2G Obstacle 



3 

4-8 

9-12 

13-14 


15 


16 


17 

IS 

19 

20 


Art ■ . : • i r A. s o' :d!0x 10 ft.; while in 

the aura. . ng creates oan'r regain hit points 
Battering -Os -eo-.ee soeoc by half, impose 
disadvantage on -s-sed attack rolls 
Blade barrier b ocks passage 
Cave-in 

Chasm Id- x 10 k /. de and 2d6 x 10 ft, deep, 
possibl y co- - e ::e: to other levels of the d ungeon 
Flood in g > es 2d' 0 fof water i n the area; create 

nearby upward-s oping passages, raised floors, or 
rising stairs to contain :he water 
Lava flows through the area (50 percent chance of 
a stone bridge crossing it) 

Overgrown mushrooms block progress and must 
be hacked down 25 percent chance of a mold or 
fungus dungeon hazard hidden among them) 
Poisonous gas (deals ld6 poison damage per 
minute of exposure) 

Reverse gravity effect causes creatures to fall toward 
the ceiling 

Wall of fire blocks passage 
Walt of force blocks passage 


Ra n pom Traps _ 

If you need a trap quickly or want to drop random 
traps into a dungeon, use the sample traps presented 
in chapter 5, 'Adventure Environments'' or the tables 
below. If you use the tables, start with the Trap Effects 
and Trap Trigger tables to decide the type of trap, 
then use the Trap Damage Severity tables to decide 
bow deadly it should be. For more information on trap 
damage severity, see chapter 5, 


Trap Trigger 

d6 Trigger 

1 Stepped on (floor, stairs) 

2 Moved through (doorway, hallway) 

3 Touched (doorknob, statue) 

4 Opened (door, treasure chest) 

5 Looked at (mural, arcane symbol) 

6 Moved (cart, stone block) 

Trap Damage Severity 

d6 Damage Severity 

1-2 Setback 



Trap Effects 

d 100 Effect 

01-04 Magic missiles shoot from a statue or object 
05-07 Collapsing staircase creates a ramp that deposits 
characters into a pit at its lower end 
08-10 Ceiling block falls, or entire ceiling collapses 
11-12 Celling lowers slowly in locked room 
13-14 Chute opens in floor 

15-16 Clanging noise attracts nearby monsters 

17-19 Touching an object triggers a disintegrate spell 
20-23 Door or other object Is coated with contact poison 
24-27 Fire shoots out from wall, floor, or object 
28-30 Touching an object triggers ajtesh to stone spell 
31—33 Floor collapses or is an illusion 
34-36 Vent releases gas: blinding, acidic, obscuring, 
paralyzing, poisonous, or sleep-inducing 
37-39 Floor tiles are electrified 
40-43 Glyph of warding 

44-46 Huge wheeled statue rolls down corridor 
47-49 Lightning holt shoots from waif or object 
50-52 Locked room floods with water or acid 
53-56 Darts shoot out of an opened chest 
57-59 A weapon, suit of armor, or rug animates and 

attacks when touched (see “Animated Objects" in 
the Monster Manual) 

60-62 Pendulum, either bfaded or weighted as a maul, 
swings across the room or hall 
63-67 Hidden pit opens beneath characters (25 percent 
chance that a black pudding or gelatinous cube 
fills the bottom of the pit) 

68-70 Hidden pit floods with acid or fire 

71 -73 Locking pit floods with water 

74-77 Scything blade emerges from wall or object 

78-81 Spears (possibly poisoned) spring out 

82-84 Brittle stairs col I apse over s p ikes 

£5-88 Thunderwave knocks characters into a pit or spikes 

89-91 Steel or stone jaws restrain a character 

92-94 Stone block smashes across hallway 

95-97 Symbol 

98-00 Walls slide together 

Random Tricks 


3-5 Dangerous 

6 Deadly 



Tricks are quirkier and less deadly than traps. Some 
are effects left behind by the dungeon’s creators, while 
others might be manifestations of the strange magical 
energy suffusing the dungeon. 

The following tables allow you to generate random 
tricks. Roll first to determine an object that the trick 
is placed on. then roil to determine the nature of the 
trick. Some tricks are permanent effects that can t be 
dispelled; others are temporary or can be neutralized 
with a dispel magic spell. You decide which is which. 


APPENDIX A I R A N D G M D U N G EO N S 

297 





















Trick Objects 


d20 

Object 

d20 

Object 

1 

Book 

12 

Pool of water 

2 

Brain preserved 

13 

Runes engraved 


in a jar 


on wall or floor 

3 

Burning fire 

14 

Skull 

4 

Cracked gem 

15 

Sphere of magical 

5 

Door 


energy 

6 

Fresco 

16 

Statue 

7 

Furniture 

17 

Stone obelisk 

8 

Glass sculpture 

18 

Suit of armor 

9 

Mushroom field 

19 

Tapestry or rug 

10 

Painting 

20 

Target dummy 

11 

Plant or tree 




Tricks 

dlOO Trick Effect 

01-03 Ages the first person to touch the object 
04-06 The touched object animates, or it animates other 
objects nearby 

07-10 Asks three skill-testing questions (if all three are 
answered correctly, a reward appears) 

11-13 Bestows resistance or vulnerability 
14-16 Changes a character’s alignment, personality, size, 
appearance, or sex when touched 
17-19 Changes one substance to another, such as gold 
to lead or metal to brittle crystal 
20-22 Creates a force field 

23-26 Creates an illusion 

27-29 Suppresses magic items for a time 
30-32 Enlarges or reduces characters 

33-35 Magic mouth speaks a riddle 

36-38 Confusion (targets all creatures within 10 ft.) 

39-41 Gives directions (true or false) 

42-44 Grants a wish 

45-47 Flies about to avoid being touched 

48-50 Casts geas on the characters 

51-53 Increases, reduces, negates, or reverses gravity 

54-56 Induces greed 

57-59 Contains an imprisoned creature 

60-62 Locks or unlocks exits 

63-65 Offers a game of chance, with the promise of a 
reward or valuable information 
66-68 Helps or harms certain types of creatures 
69-71 Casts polymorph on the characters (lasts 1 hour) 

72-75 Presents a puzzle or riddle 

76-78 Prevents movement 

79-81 Releases coins, false coins, gems, false gems, a 
magic item, or a map 

82-84 Releases, summons, or turns into a monster 
85-87 Casts suggestion on the characters 
88-90 Wails loudly when touched 

91-93 Talks (normal speech, nonsense, poetry and 

rhymes, singing, spellcasting, or screaming) 

94-97 Teleports characters to another place 
98-00 Swaps two or more characters' minds 


Random treasures 

Use the tables and guidelines in chapter 7, “Treasure" to 
determine the treasure in each area of your dungeon. 

Empty Rooms 

An empty room can be a godsend for characters who 
need a safe place to take a short rest. Characters can 
also barricade themselves there and take a long rest. 

Sometimes such a room isn’t as empty as it appears. If 
the characters search a room carefully, you can reward 
them with a secret compartment containing a journal 
belonging to a previous inhabitant, a map leading to 
another dungeon, or some other discovery. 

Dungeon Dressing 

The tables in this section provide miscellaneous 
items and points of interest that can be placed in your 
dungeon. Dungeon dressing can help establish the 
atmosphere of a dungeon, give clues about its creators 
and history, provide the basis for tricks and traps, or 
encourage exploration. 

To generate dungeon dressing at random, roll once on 
each of the following tables: Noises, Air, and Odors. Roll 
as often as you like on the other tables in this section, or 
choose appropriate furnishings for the area. 


Noises 




d!00 

Effect 

dlOO 

Effect 

01-05 

Bang or slam 

49 

Jingling 

06 

Bellowing 

50-53 

Knocking 

07 

Buzzing 

54-55 

Laughter 

08-10 

Chanting 

56-57 

Moaning 

11 

Chiming 

58-60 

Murmuring 

12 

Chirping 

61-62 

Music 

13 

Clanking 

63 

Rattling 

14 

Clashing 

64 

Ringing 

15 

Clicking 

65-68 

Rustling 

16 

Coughing 

69-72 

Scratching or 

17-18 

Creaking 


scrabbling 

19 

Drumming 

73-74 

Screaming 

20-23 

Footsteps ahead 

75-77 

Scuttling 

24-26 

Footsteps 

78 

Shuffling 


approaching 

79-80 

Slithering 

27-29 

Footsteps behind 

81 

Snapping 

30-31 

Footsteps 

82 

Sneezing 


receding 

83 

Sobbing 

32-33 

Footsteps to the 

84 

Splashing 


side 

85 

Splintering 

34-35 

Giggling (faint) 

86-87 

Squeaking 

36 

Gong 

88 

Squealing 

37-39 

Grating 

89-90 

Tapping 

40-41 

Groaning 

91-92 

Thud 

42 

Grunting 

93-94 

Thumping 

43-44 

Hissing 

95 

Tinkling 

45 

Horn or trumpet 

96 

Twanging 


sounding 

97 

Whining 

46 

Howling 

98 

Whispering 

47-48 

Humming 

99-00 

Whistling 


APPENDIX A 


RANDOM DUNGEONS 



Air 


General Furnishings and Appointments 


dlOO 

Effect 

dIGO 

Effect 

01-60 

Clear and damp 

86-90 

Clear and warm 

61-70 

Clear and drafty 

91-93 

Hazy and humid 

71-80 

Clear but cold 

94-96 

Smoky or steamy 

81-83 

Foggy or misty 

97-98 

Clear, with smoke 


and cold 


covering ceiling 

84-85 

Clear, with mist 
covering floor 

99-00 

Clear and windy 


Odors 


dlOO 

Effect 

dlOO 

Effect 

01-03 

Acrid 

66-70 

Putrid 

04-05 

Chlorine 

71-75 

Rotting vegetation 

06-39 

Dank or moldy 

76-77 

Salty and wet 

40-49 

Earthy 

78-82 

Smoky 

50-57 

Manure 

83-89 

Stale 

58-61 

Metallic 

90-95 

Sulfurous 

62-65 

Ozone 

96-00 

Urine 


General Features 


dlOO 

Item 

dlOO 

Item 

01 

Arrow, broken 

62-64 

Leaves and twigs 

(32-04 

Ashes 

65-68 

Mold (common) 

05-06 

Bones 

69 

Pick handle 

07 

Bottle, broken 

70 

Pole, broken 

08 

Chain, corroded 


(5 ft. long) 

09 

Club, splintered 

71 

Pottery shards 

10-19 

Cobwebs 

72-73 

Rags 

20 

Coin, copper 

74 

Rope, rotten 

21-22 

Cracks, ceiling 

75-76 

Rubble and dirt 

23-24 

Cracks, floor 

77 

Sack, torn 

25-26 

Cracks, wall 

78-80 

Slime (harmless) 

27 

Dagger hilt 

81 

Spike, rusted 

28-29 

Damp ceiling 

82-83 

Sticks 

30-33 

Dampness, wall 

84 

Stones, small 

34 

Dried blood 

85 

Straw 

35-41 

Dripping blood 

86 

Sword bfade, 

42-44 

Dung 


broken 

45-49 

Dust 

S7 

Teeth or fangs, 

50 

Flask, cracked 


scattered 

51 

Food scraps 

SS 

Torch stub 

52 

Fungi (common, 

89 

Wall scratchings 

53-55 

Guano 

90-91 

-Later, large 

56 

Hair or fur 


puddle 

57 

Hammer head, 

92-93 

Water, small 


cracked 


puddle 

58 

Helmet, badly 

94-95 

Water, trickle 


dented 

96 

Wax blob 

59 

Iron bar. bent 


(candle stub) 


and rusted 

97 

Wax drippings 

60 

Javelin head. 

98-00 

Wood pieces, 


blunt 


rotting 

61 

Leather boo: 




dlOO 

Item 

dlOO 

Item 

01 

Altar 

50 

Hogshead (large 

02 

Armchair 


cask, 65 gallons) 

03 

Armoire 

51 

Idol (large) 

04 

Arras or curtain 

52 

Keg (small barrel. 

05 

Bag 


20 gallons) 

06 

Barrel (40 gallons) 

53 

Loom 

07-03 

Bed 

54 

Mat 

09 

Bench 

55 

Mattress 

10 

Blanket 

56 

Pail 

11 

Box (large) 

57 

Painting 

12 

Brazier and 

53-60 

Pallet 


charcoal 

61 

Pedestal 

13 

Bucket 

62-64 

Pegs 

14 

Buffet cabinet 

65 

pillow 

15 

Bunks 

66 

Pipe (large cask, 

16 

Butt (huge cask, 


105 gallons) 


125 gallons) 

67 

Quilt 

17 

Cabinet 

68-70 

Rug (small or 

18 

Candelabrum 


medium) 

19 

Carpet (large) 

71 

Rushes 

20 

Cask (40 gallons) 

72 

Sack 

21 

Chandelier 

73 

Sconce 

22 

Charcoal 

74 

Screen 

23-24 

Chair, plain 

75 

Sheet 

25 

Chair, padded 

76—77 

Shelf 

26 

Chair, padded, 

78 

Shrine 


or divan 

79 

Sideboard 

27 

Chest, large 

so 

Sofa 

23 

Chest, medium 

81 

Staff, normal 

29 

Chest of drawers 

82 

Stand 

30 

Closet (wardrobe) 

S3 

Statue 

31 

Coal 

84 

Stool, high 

32-33 

Couch 

85 

Stool, normal 

34 

Crate 

86 

Table, large 

35 

Cresset 

87 

Table, long 

36 

Cupboard 

88 

Table, low 

37 

Cushion 

39 

Table, round 

33 

Dais 

90 

Table, small 

39 

Desk 

91 

Table, trestle 

40-42 

Fireplace and 

92 

Tapestry 


wood 

93 

Throne 

43 

Fireplace with 

94 

Trunk 


mantle 

95 

Tub 

44 

Firkin (small 

96 

Tun (huge cask, 


cask, 10 gallons) 


250 gallons) 

45 

Fountain 

97 

Urn 

46 

Fresco 

98 

Wall basin 

47 

Grindstone 


and font 

4S 

Hamper 

99 

Wood billets 

49 

Hassock 

00 

Workbench 


APPENDIX A I RANDOM DUNGEONS 










Relic fous Articles and Furnishings 

dlOO 

item 

dlOO 

Item 

dioo 

Item 

dioo 

Item 

46-47 

Hourglass 

85-86 

Tube (piping) 

01-05 

Altar 

54 

Lectern 

48-49 

fug 

87 

Tweezers 

06-08 

Bells 

55 

Mosaic 

50 

Kettle 

88-90 

Vial 

09-11 

Brazier 

56-58 

Offertory 

51 

Ladle 

91 

Water clock 

12 

Candelabra 


container 

52 

Lamp or lantern 

92 

Wire 

13-14 

Candles 

59 

Paintings or 

53 

Lens (concave 

93-00 

Workbench 

15 

Candlesticks 


frescoes 


or convex) 



16 

Cassocks 

60-61 

Pews 





17 

Chimes 

62 

Pipes, musical 

Utensils and Personal 

Items 


is-19 

Cloth, altar 

63 

Prayer rug 

dioo 

Item 

dlOO 

Item 

20-23 

Columns or 

64 

Pulpit 

01 

Awl 

47-48 

Mirror 


pillars 

65 

Rail 

02 

Bandages 

49 

Needle(s) 

24 

Curtain or 

66-69 

Robes 

03 

Basin 

50 

OH, cooking 


tapestry 

70-71 

Screen 

04-05 

Basket 

51 

Oil, fuel 

25 

Drum 

72—76 

Shrine 

06-07 

Book 

52 

Oil, scented 

26-27 

Font 

77 

Side chairs 

08-09 

Bottle 

53 

Pan 

28-29 

Cong 

73-79 

Stand 

10 

Bowl 

54-55 

Parchment 

30-35 

Holy or unholy 

80-82 

Statue 

11 

Box 

56 

Pipe, musical 


symbol 

83 

Throne 

12-13 

Brush 

57 

Pipe, smoking 

36-37 

Holy or unholy 

84-85 

Thurible 

14 

Candle 

58 

Plate, platter, 


writings 

86-90 

Tripod 

15 

Candle snuffer 


or saucer 

38-43 

Idol 

91—97 

Vestments 

16 

Candlestick 

59 

Pot 

44-48 

Incense burner 

98-99 

Votive light 

17 

Cane or walking 

60-61 

Pouch 

49 

Kneeling bench 

00 

Whistle 


stick 

62 

Powder puff 

so-53 

Lamp 



18 

Case 

63 

Quill 





19 

Casket (small) 

64 

Razor 

Mace Furnishings 



20-21 

Coffer 

65 

Rope 

d!00 

Item 

dlOO 

Item 

22 

Cologne or 

66 

Salve or unguent 

01-03 

Alembic 

54 

Magic circle 


perfume 

67-68 

Scroll 

04-05 

Balance and 

55 

Mortar and pestle 

23 

Comb 

69 

Shaker 


weights 

56 

Pan 

24 

Cup 

70 

Sifter or strainer 

06-09 

Beaker 

57-58 

Parchment 

25 

Decanter 

71-72 

Soap 

10 

Bellows 

59 

Pentacle 

26-27 

Dish 

73 

Spigot 

11-14 

Book 

60 

Pentagram 

28 

Ear spoon 

74 

Spoon 

15-16 

Bottle 

61 

Pipe, smoking 

29 

Ewer 

75 

Stopper 

17 

Bowl 

62 

Pot 

30 

Flagon, mug, or 

76-77 

Statuette or 

18 

Box 

63 

Prism 


tankard 


figurine 

19-22 

Brazier 

64-65 

Quill 

31-32 

Flask or jar 

78-79 

Thread 

23 

Cage 

66-68 

Retort 

33 

Food 

80-82 

Tinderbox [with 

24 

Candle 

69 

Rod, mixing or 

34 

Fork 


flint and steel) 

25-26 

Candlestick 


stirring 

35 

Grater 

S3 

Towel 

27-28 

Cauldron 

70-72 

Scroll 

36 

Grinder 

84 

Tray 

29-30 

Chalk 

73 

Sexton 

37 

Horn, drinking 

85 

Trivet or tripod 

31-32 

Crucible 

74-75 

Skull 

3S 

Hourglass 

86 

Tureen 

33 

Crystal ball 

76 

Spatula 

39 

Jug or pitcher 

87-88 

Twine 

34 

Decanter 

77 

Spoon, measuring 

40 

Kettle 

90 

Vase 

35 

Desk 

78 

Stand 

41 

Key 

91-92 

Vial 

36 

Dish 

79 

Stool 

42 

Knife 

93 

Washcloth 

37-40 

Flask or jar 

80 

Stuffed animal 

43 

Knucklebones 

94 

Whetstone 

41 

Funnel 

81 

Tank (container) 


or dice 

95-96 

Wig 

42 

Furnace 

82 

Tongs 

44 

Ladle 

97-98 

Wool 

43-44 

Herbs 

83 

Tripod 

45-46 

Lamp or lantern 

99-00 

Yarn 

45 

Horn 

84 

Tube (container) 






appen dix a 


300 


random dungeons 






Container Contents 


dlOO 

Item 

dlOO 

Item 

01-03 

Ash 

60-61 

Lumps, 

04-06 

Bark 


unidentifiable 

07-09 

Bodily organs 

62-64 

Oil 

10-14 

Bones 

65-68 

Paste 

15-17 

Cinders 

69-71 

Pellets 

18-22 

Crystals 

72-84 

Powder 

23-26 

Dust 

85-86 

Semiliquid 

27-28 

Fibers 


suspension 

29-31 

Gelatin 

87-88 

Skin or hide 

32-35 

Crains 

89-90 

Spheres (metal, 

36-38 

Grease 


stone, or wood) 

39-41 

Husks 

91-92 

Splinters 

42-46 

Leaves 

93-94 

Stalks 

47-54 

Liquid, thin 

95-97 

Strands 

55-59 

Liquid, viscous 

98-G0 

Strips 

Books, 

Scrolls, and Tomes 


dlOO 

Contents 

dlOO 

Contents 

01-02 

Account records 

63-64 

Novel 

O 

i 

■m 

O 

Alchemist’s 

65 

Painting 


notebook 

66-67 

Poetry 

05-06 

Almanac 

6S-69 

Prayer book 

07-08 

Bestiary 

70 

Property deed 

09-11 

Biography 

71-74 

Recipe book or 

12-14 

Book of heraldry 


cookbook 

15 

Book of myths 

75 

Record of a 

16 

Book of pressed 


criminal trial 


flowers 

76 

Royal 

17 

Calendar 


proclamation 

18-22 

Catalog 

77-78 

Sheet music 

23-24 

Contract 

79 

Spellbook 

25-27 

Diary 

SO 

Text on armor 

28-29 

Dictionary 


making 

30-32 

Doodles or 

$1-82 

Text on astrology 


sketches 

$3-84 

Text on brewing 

33 

Forged document 

35-86 

Text on exotic 

34 

Grammar 


flora or fauna 


workbook 

87-88 

Text on herbalism 

35-36 

Heretical text 

89-90 

Text on local flora 

37-41 

Historical text 

91-92 

Text on 

42-43 

Last will and 


mathematics 


testament 

93 

Text on masonry 

44-45 

Legal code 

94 

Text on medicine 

46-53 

Letter 

95 

Theological text 

54 

Lunatic’s ravings 

96 

Tome of 

55 

Magic tricks (not 


forbidden lore 


a spetlbook) 

97-99 

Travelogue for an 

56 

Magic scroll 


exotic land 

57-59 

Map or atlas 

00 

Travelogue of the 

60 

Memoir 


planes 

61-62 

Navigational 
chart or star chart 






APPENDIX A I RANDOM DUNGEONS 

















Appendix B: Monster Lists 


Monsters by Environment 

Desert Monsters 


The following tables organize monsters by environment 

Monsters 

Challenge Rating (XP) 

and challenge rating. These tables omit monsters that 

Cat, commoner, hyena, jackal, 

0 (10 XP) 

don't customarily inhabit the environments included 

scorpion, vulture 


here, such as angels and demons. 


Bandit, camel, flying snake, guard, 

3/8 (25 XP) 

Arctic Monsters 


kobold, mule, poisonous snake, 
stirge, tribal warrior 


Monsters 

Challenge Rating (XP) 

Constrictor snake, giant lizard, giant 

1/4 (30 XP) 

Commoner, owl 

0 {10 XP} 

poisonous snake, giant wolf spider, 


Bandit, blood hawk, kobold, tribal 

1/S (25 XP) 

pseudodragon, winged kobold 


warrior 


Dust mephit, gnoll, hobgoblin, 

1/2 (300 XP) 

Giant owl, winged kobold 

1/4 (50 XP) 

jackalwere, scout, swarm of insects 


Ice mephit, ore, scout 

1/2 (100 XP) 

Death dog, giant hyena, giant spider, 

1 (200 XP) 

Brown bear, half-ogre 

1 (200 XP) 

giant toad, giant vulture, halffogre, 


Bandit captain, berserker, druid, 

2 (450 XP) 

lion, thrbkreen, yuan-ti pureblood 


griffon, ogre, ore Eye of Gruumsh, 


Bandit captain, berserker, druid, 

2 (450 XP) 

orog, polar bear, saber-toothed tiger 


giant constrictor snake, gnoll pack 


Manticore, veteran, winter wolf, yeti 

3 (700 XP) 

lord, ogre 


Revenant, troll, werebear, young 

5 {1,800 XP) 

Giant scorpion, hobgoblin captain, 

3 (700 XP) 

remorhaz 


mummy, phase spider, wight, yuan-ti 


Mammoth, young white dragon 

6 (2,300 XP) 

malison 


Frost giant 

S (3,900 XP) 

Couatl, gnoll fang of Yeenoghu, 

4 (1,100 XP) 

Abominable yeti 

9 (5,000 XP) 

lamia, weretiger 


Remorhaz, roc 

11 (7,200 XP) 

Air elemental, fire elemental, revenant 

5 (1,800 XP) 

Adult white dragon 

13 (10,000 XP) 

Cyclops, medusa, young brass dragon 

6 (2,300 XP) 

Ancient white dragon 

20 (24,500 XP) 

Yuan-ti abomination 

7 (2,900 XP) 



Young blue dragon 

9 (5,000 XP) 

Coastal Monsters 


Guardian naga 

10 (5,900 XP) 

Monsters 

Challenge Rating (XP) 

0 (10 XP) 

1/8 (25 XP) 

Efreeti, gynosphinx, roc 

11 (7,200 XP) 

Commoner, crab, eagle 

Bandit, blood hawk, giant crab, 
guard, kobold, merfolk, poisonous 
snake, stirge, tribal warrior 

Giant lizard, giant wolf spider, 
pseudodragon, pteranodon, winged 

Adult brass dragon 

Mummy lord, purple worm 

Adult blue dragon 

13 (10,000 XP) 

15 (13,000 XP) 

16 (15,000 XP) 

1/4 (50 XP) 

Adult blue dracolich, androsphinx 
Ancient brass dragon 

Ancient blue dragon 

17 (18,000 XP) 
20 (24,500 XP) 
23 (32,500 XP) 

kobold 

Sahuagin, scout 

1/2(100 XP) 

Forest Monsters 


Giant eagle, giant toad, harpy 

1 (200 XP) 

Monsters 

Challenge Rating [XP] 

Bandit captain, berserker, druid. 

2 (450 XP) 

Awakened shrub, baboon, badger, 

0 (10 XP) 

griffon, ogre, merrow, plesiosaurus, 


cat, commoner, deer, hyena, owl 


sahuagin priestess, sea hag 


Bandit, blood hawk, flying snake, 

1/8 (25 XP) 

Manticore, veteran 

3 (700 XP) 

giant rat, giant weasel, guard, 


Banshee 

4 (1,100 XP) 

kobold, mastiff, poisonous snake, 


Sahuagin baron, water elemental 

5 (1,800 XP) 

stirge, tribal warrior, twig blight 


Cyclops 

6 (2,300 XP) 

Blink dog, boar, constrictor snake, 

1/4 (50 XP) 

Young bronze dragon 

8 (3,900 XP) 

elk, giant badger, giant bat, giant 


Young blue dragon 

9 (5,000 XP) 

frog, giant lizard, giant owl, giant 


Djinni, marid, roc 

11 (7,200 XP) 

poisonous snake, giant wolf spider, 


Storm grant 

13 (30,000 XP) 

goblin, kenku, needle blight, panther. 


Adult bronze dragon 

35 (33,000 XP) 

pixie, pseudodragon, sprite, swarm 


Adult blue dragon 

16 (15,000 XP) 

of ravens, winged kobold. wolf 


Dragon turtle 

17 (38,000 XP) 

Ape, black bear, giant wasp, gnoll. 

1/2 (100 XP) 

Ancient bronze dragon 

22 (30,000 XP) 

hobgoblin, lizardfolk, ore. satyr, scout, 


Ancient blue dragon 

23 (32,500 XP) 

swarm of insects, vine blight, worg 



APPENDIX B I MOHSTER LISTS 





























Monsters 

Brown bear, bugbear, dire wolf, 
dryad, faerie dragon (yellow or 
younger), giant hyena, giant spider, 
giant toad, go biin boss, half-ogre, 
harpy, tiger, yuan-ti pureblood 
Ankheg, awakened tree, bandit 
captain, berserker, centaur, druid, 
ettercap, faerie dragon (green or 
older), giant boar, giant constrictor 
snake, giant elk, gnoll pack lord, 
grick, lizardfolk shaman, ogre, ore 
Eye ofGruumsh, orog, pegasus, 
swarm of poisonous snakes, we rerat, 
will-o'-wisp 

Displacer beast, green hag, 
hobgoblin captain, owlbear, phase 
spider, veteran, werewolf, yuan-ti 
malison 

Banshee, couatl, gnoll fang of 
Yeenogbu, wereboar, weretiger 
Gorgon, revenant, shambling 
mound, troll, unicorn, werebear 
Giant ape, grick alpha, oni, 
yuan-ti abomination 
Young green dragon 
Treant 

Guardian naga, young gold dragon 
Adult green dragon 
Adult gold dragon 
Ancient green dragon 
Ancient gold dragon 


Challenge Rating (XP) 
1 (200 XP) 


2 (450 XP) 


3 (700 XP) 


4 (1,100 XP) 

5 (1,800 XP) 

7 (2.900 XP) 

8 (3,900 XP) 

9 (5,000 XP) 
10 (5,900 XP) 

15 (13,000 XP) 
17 (18,000 XP) 
22 


24 (36,500 XP) 


Grassland Monsters 
M onsters 

Cat, commoner, deer, eagle, goat, 
hyena, jackal, vulture 
Blood hawk, flying snake, giant 
weasel, guard, poisonous snake, 
stirge, tribal warrior 
Axe beak, boar, elk, giant poisonous 
snake, giant wolf spider, goblin, 
panther (leopard), pteranodon, 
riding horse, wolf 
Cockatrice, giant goat, giant wasp, 
gnoll, hobgoblin, jackalwere, ore, 
scout, swarm of insects, worg 
Bugbear, giant eagle, giant hyena, 
giant vulture, goblin boss, hippogriff, 
lion, scarecrow, thri-kreen, tiger 
Altosaurus, ankheg, centaur, druid, 
giant boar, giant elk, gnoll pack lord, 
griffon, ogre, ore Eye of Cruumsh, 
orog, pegasus, rhinoceros 
Ankylosaurus, hobgoblin captain, 
manticore, phase spider, veteran 
Couatl, elephant, gnoll fang of 
Yeenoghu, wereboar, weretiger 
Bulette, gorge n, triceratops 
Chimera, Cyclops 
Tyrannosaurus Rex 
Young gold dragon 
Adult gold dragon 
Ancient gold dragon 


Challenge Rating (XP) 

0 (10 XP) 

1/S (25 XP) 


1/4 (50 XP) 


1/2 (100 XP) 


1 (200 XP) 


2 (450 XP) 


3 (700 XP) 

4 (1,100 XP) 

5 (1,800 XP) 

6 (2,300 XP) 
8 (3,900 XP) 

10 (5,900 XP) 
17 (18,000 XP) 
24 (36,500 XP) 


APPENDIX B MONSTER LISTS 


303 











Hill Monsters 


Mountain Monsters 


Monsters 

Baboon, commoner, eagle, goat, 
hyena, raven, vulture 
Bandit, blood hawk, giant weasel, 
guard, kobold, mastiff, mule, 
poisonous snake, stirge, tribal warrior 
Axe beak, boar, elk, giant owl, giant 
wolf spider, goblin, panther {cougar), 
pseudodragon, swarm of bats, swarm 
of ravens, winged kobold, wolf 
Giant goat, gnoll, hobgoblin, ore, 
scout, swarm of insects, worg 
Brown bear, dire wolf, giant eagle, 
giant hyena, goblin boss, half-ogre, 
harpy, hippogriff, Non 
Bandit captain, berserker, druid, 
giant boar, giant elk, gnoll pack lord, 
griffon, ogre, ore Eye of Gruumsh, 


Challenge Rating (XP) 

0 (10 XP) 

1/8 (25 XP) 

1/4 (50 XP) 

1/2 (100 XP) 

1 (200 XP) 

2 (450 XP) 


orog, pegasus, peryton 

Green hag, hobgoblin captain, 3 {700 XP) 

manticore, phase spider, veteran, 

werewolf 

Ettin, gnoll fang of Yeenoghu, 4 (1,100 XP) 

wereboar 


Bulette, gorgon, hill giant, revenant, 
troll, werebear 

Chimera, cyclops, galeb duhr, wyvern 
Stone giant, young copper dragon 
Young red dragon 
Roc 

Adult copper dragon 
Adult red dragon 
Ancient copper dragon 
Ancient red dragon 


5 (1,800 XP) 

6 {2,300 XP) 

7 (2,900 XP) 

10 (5,900 XP) 

11 (7,200 XP) 
14 (11,500 XP) 
17 (18,000 XP) 
21 (27,500 XP) 
24 (36,500 XP) 



Bulette 


Monsters 

Eagle, goat 

Blood hawk, guard, kobold, stirge, 
tribal warrior 

Aarakocra, pseudodragon, 
pteranodon, swarm of bats, winged 
kobold 

Giant goat, ore, scout 
Giant eagle, half-ogre, harpy, 
hippogriff, lion 

Berserker, druid, giant elk, griffon, 
ogre, ore Eye of Gruumsh, orog, 
peryton, saber-toothed tiger 
Basilisk, hell hound, manticore, 
veteran 
Ettin 

Air elemental, bulette, troll 
Chimera, cyclops, galeb duhr, wyvern 
Stone giant 
Frost giant 

Cloud giant, fire giant, young silver 
dragon 

Young red dragon 
Roc 

Adult silver dragon 
Adult red dragon 
Ancient silver dragon 
Ancient red dragon 


Challenge Rating (XP) 

0 (10 XP) 
1/8 (25 XP) 

1/4 (50 XP) 


1/2 (100 XP) 

1 (200 XP] 

2 (450 XP) 


3 (700 XP) 

4 (1,100 XP) 

5 (1,800 XP) 

6 (2,300 XP) 

7 (2,900 XP) 

8 (3,900 XP) 

9 (5,000 XP) 

10 (5,900 XP) 

11 (7,200 XP) 

16 (15,000 XP) 

17 (18,000 XP) 

23 (32,500 XP) 

24 (36,500 XP) 


Swamp Monsters 


Monsters 

Rat, raven 

Giant rat, kobold, poisonous snake, 
stirge, tribal warrior 
Bullywug, constrictor snake, giant 
frog, giant lizard, giant poisonous 
snake, mud mephit, swarm of rats, 
swarm of ravens, winged kobold 
Crocodile, lizardfolk, ore, scout, 
swarm of insects 

Ghoul, giant spider, giant toad, yuan- 
ti pureblood 

Druid, ghast, giant constrictor snake, 

lizardfolk shaman, ogre, ore Eye 

of Gruumsh, swarm of poisonous 

snakes, will-o'-wisp 

Green hag, wight, yuan-ti malison 

Giant crocodile, revenant, shambling 

mound, troll, water elemental 

Young black dragon, 

yuan-tl abomination 

Hydra 

Adult black dragon 
Ancient black dragon 


Challenge Rating (XP) 

0 (10 XP) 
1/8 (25 XP) 

1/4 (50 XP) 

1/2 (100XP) 

1 (200 XP) 

2 (450 XP) 


3 (700 XP) 
5 (1,800 XP) 

7 (2,900 XP) 

S (3,900 XP) 
14 (11,500 XP) 
21 (27,500 XP) 


304 


APPENDIX B I MONSTER LISTS 












Underdark Monsters 

Monsters 

Giant fire beetle, shrieker, - d 
sprout 

Flumph, giant rat, koboid, $" r ge, 
tribal warrior 

Drow, giant bat, giant centipede, 
giant lizard, giant poisonous snake 
goblin, grim lock, kuo-toa. swarm 
of bats, troglodyte, violet fungus, 
winged koboid 

Darkmantle, deep gnome, gas 
spore, gray ooze, hobgoblin, magma 
mephit, myconid adult, ore, piercer, 
rust monster, scout, shadow, swarm 
of insects 

Bugbear, duergar, fire snake, ghoul, 
giant spider, giant toad, goblin boss, 
half-ogre, kuo-toa whip, quaggoth 
spore servant, specter 
Carrion crawler, druid, gargoyle, 
gelatinous cube, ghast, giant 
constrictor snake, gibbering mouther, 
grick, intellect devourer, mimic, 
minotaur skeleton, nothic. ochre jelly, 
ogre, ore Eye of Gruumsh, orog, 
polar bear (cave bear), quaggoth 
Doppdganger, grelt, hobgoblin 
captain, hell hound, hook horror, 
kuo-toa monitor, minotaur, quaggoth 
thonob phase spider, spectator, 
veteran, water weird, wight 
Black pudding, bone naga, chuul, 
ettin, flameskuli, ghost 
Beholder zombie, drow elite warrior, 
earth elemental, otyugh, roper, 
salamander, troll, umber hulk, 
vampire spawn, wraith, xorn 
Chimera, cyclops, drider 
Drow mage, grick alpha, mind flayer, 
stone giant 

Cloaker, fomorian, mind flayer 
arcanist, spirit naga 
Fire giant 
Aboleth 
Behir, dao 

Beholder, young red shadow dragor 
Death tyrant 
Purple worm 

if 


Challenge Rating (XP) 
0 (10 XP) 

1/S (25 XP) 

1/4 (50 XP) 


1/2 (100 XP) 


1 (200 XP) 


2 (450 XP) 


3 (700 XP) 


4 (1,100 XP) 


5 (1,800 XP) 


6 (2,300 XP) 

7 (2,900 XP) 

8 (3,900 XP) 

9 (5,000 XP) 

10 (5,900 XP) 

11 (7,200 XP) 

13 (10,000 XP) 

14 (11,500 XP) 

15 (13,000 XP) 





Underwater Monsters 

Monsters 

Quipper 

Merfolk 

Constrictor snake, steam mephit 
Giant sea horse, reef shark, sahuagin 
Giant octopus, swarm of quippers 
Giant constrictor snake, hunter 
shark, merrow, plesiosaurus, 
sahuagin priestess, sea hag 
Killer whale 

Giant shark, sahuagin baron, 

water elemental 

Marid 

Storm giant 
Dragon turtle 
Kraken 

Urban Monsters 

Monsters 

Cat, commoner, goat, rat, raven 
Bandit, cult 1st, flying snake, giant rat, 
guard, koboid, mastiff, mufe, noble, 
pony, stirge 

Acolyte, draft horse, giant centipede, 
giant poisonous snake, kenku, 
pseudodragon, riding horse, 
skeleton, smoke mephit, swarm 
of bats, swarm of rats, swarm of 
ravens, winged koboid, zombie 
Crocodile, giant wasp, shadow, 
shadow, swarm of insects, thug, 
warhorse 

Ghoul, giant spider, half-ogre, 
specter, spy, yuan-ti pureblood 
Bandit captain, cult fanatic, gargoyle, 
ghast, mimic, priest, wererat, will- 
o'-wisp 

Dcppelganger, knight, phase spider, 
veteran, water weird, wight 
Couatl, ghost, succubus or incubus 
Cambion, gladiator, revenant, 
vampire spawn 
Invisible stalker, mage 
Oni, shield guardian 
Assassin 

Gray slaad, young silver dragon 

Archmage 

Rakshasa, vampire 

Spellcaster or warrior vampire 

Adult silver dragon 

Ancient silver dragon 

Tarrasque 


Challenge Rating (XP) 
0 (10 XP) 
1/S (25 XP) 
1/4 (50 XP) 
1/2 (100 XP) 

1 (200 XP) 

2 (450 XP) 


3 (700 XP) 
5 (1,800 XP) 

11 (7,200 XP) 
13 (10,000 XP) 
17 (lS.OOOXP) 
23 (50,000 XP) 


Challenge Rating (XP) 

0 (10 XP) 
1/S (25 XP) 


1/4 (50 XP) 


1/2 (100XP) 


1 (200 XP) 


2 (450 XP) 


3 (700 XP) 

4 (1,100 XP) 

5 (1,800 XP) 

6 (2,300 XP) 

7 (2,900 XP) 
S (3,900 XP) 
9 (5,000 XP) 

12 (8,400 XP) 
13 (10,000 XP) 

15 (13,000 XP) 

16 (15,000 XP) 
23 (32,500 XP) 

30 (155,000 XP) 


Phase Spider 


APPENDIX K I MONSTER LISTS 


305 













Monsters by Challenge Rating 

This index organizes the monsters in the Monster 
Manual by challenge rating. 


Challenge 0 (o-io xp) Quipper 

Awakened shrub Rat 

Baboon Raven 

Badger Scorpion 

Bat Sea horse 

Cat Shrieker 

Commoner Spider 

Crab Vulture 

Crawling claw Weasel 



Deer 

Eagle 

Frog 

Giant fire beetle 

Goat 

Hawk 

Homunculus 

Hyena 

jackal 

Lernure 

Lizard 

Myconid sprout 

Octopus 

Owl 


Challenge 1/8 (25 xpj 

Blood hawk 
Camel 
Cultist 
Flumph 
Flying snake 
Giant crab 
Giant rat 
Giant weasel 
Guard 
Kobold 
Manes 
Mastiff 


Troglodyte 


Menfolk 

Monodrone 

Mule 

Noble 

Poisonous snake 
Pony 

Slaad tadpole 
Stirge 

Tribal warrior 
Twig blight 

Challenge 1/4 [so xpj 

Aarakocra 

Acolyte 

Axe beak 

Blink dog 

Boar 

Bullywug 

Constrictor snake 

Draft horse 

Dretch 

Drew 

Duodrone 

Elk 

Flying sword 
Grant badger 
Giant bat 
Giant centipede 
Giant frog 
Giant lizard 
Giant owl 

Giant poisonous snake 

Giant wol r spider 

Goblin 

Grimlock 

Kenku 

Kuo-toa 

Mud mephit 

Needle blight 

Panther 

Pixie 

Pseudodragon 
Pte ranodon 
Riding horse 
Skeleton 
Smoke mephit 
Sprite 

Steam mephit 
Swarm of bats 
Swarm of rats 
Swarm of ravens 
Troglodyte 
Violet fungus 
Winged kobold 
Wolf 
Zombie 


Challenge 1/2 (ioo xp) 

Ape 

Black bear 

Cockatrice 

Crocodile 

Darkmantle 

Deep gnome 

Dust mephit 

Gas spore 

Giant goat 

Giant sea horse 

Giant wasp 

Gnoll 

Gray ooze 

Hobgoblin 

ice mephit 

Jackalwere 

Lizardfolk 

Magma mephit 

Magmin 

Myconid adult 

Ore 

Piercer 

Reef shark 

Rust monster 

Sahuagin 

Satyr 

Scout 

Shadow 

Swarm of insects 

Thug 

Tridrone 

Vine blight 

Warhorse 

Warhorse skeleton 

Worg 

Challenge 1 (20Q xp) 

Animated armor 
Brass dragon wyrmling 
Brown bear 
Bugbear 

Copper dragon wyrmling 

Death dog 

Dire wolf 

Dryad 

Duergar 

Faerie dragon (young) 

Fire snake 
Ghoul 
Giant eagle 
Giant hyena 
Giant octopus 
Giant spider 
Giant toad 
Giant vulture 
Goblin boss 


::o6 


APPENDIX El I MONSTER LISTS 

























Green Dragon 
Wyrmling 


Gibbering mouther 
Githzerai monk 
GnoJI pack lord 
Green dragon wyrmling 
Grick 
Griffon 
Hunter shark 
Intellect devourer 
Lizardfolk shaman 
Merrow 
Mimic 

Minotaur skeleton 
My con id sovereign 
Gothic 
Ochre jelly 
Ogre 

Ogre zombie 
Ore Eye of Gruumsh 
Orog 
Pegasus 
Pentadrone 
Peryton 
Plesiosaurus 
Polar bear 

Poltergeist (specter) 

Priest 
Quaggoth 
Rhinoceros 
Rug of smothering 
Saber-toothed tiger 
Saruagrn priestess 
Sea hag 

Si ver dragon wyrmling 
Spined devil 

5 arm c‘ poisonous snakes 
a ere rat 

*Vh te dragon wyrmling 
Wif l-o -wisp 


Challenge 3 (700 XP) 

Ankylosaurus 
Basilisk 
Bearded devil 
Blue dragon wyrmling 
Bugbear chief 
Displacer beast 
Doppelganger 
Giant scorpion 
GEthyanki warrior 
Gold dragon wyrmling 
Green hag 
Grell 

Hell hound 
Hobgoblin captain 
Hook horror 
Killer whale 
Knight 

Kuo-toa monitor 
M anticore 
Minotaur 
Mummy 


Couatl 








Half-ogre 

Harpy 

Hippogriff 

Imp 

Kuo-toa whip 
Lion 

Quadrone 

Quaggoth spore servant 

Quasit 

Scarecrow 

Specter 

Spy 

Swarm of quippers 

Thri-kreen 

Tiger 

Yu an Hi pureblood 

Challenge 2 (4S0 XP) 

Allosaurus 
Ankheg 
Awakened tree 
Azer 

Bandit captain 
Berserker 

Black dragon wyrmling 

Bronze dragon wyrmling 

Carrion crawler 

Centaur 

Cult fanatic 

Druid 

Ette reap 

Faerie dragon (old; 
Gargoyle 
Gelatinous cube 
Ghast 
Giant boar 

Giant constrictor snake 
Giant elk 


Nightmare 

Gwlbear 

Phase spider 

Quaggoth thonot 

Spectator 

Veteran 

Water weird 

Werewolf 

Wight 

Winter wolf 

Yeti 

Yuan-ti malison 


Challenge 4 (voo XP) 

Banshee 
Black pudding 
Bone naga 
Chuul 
Couatl 
Elephant 
Ettin 

Flameskull 
Ghost 


i - - 
i #■ 


frT 

i - 




APPENDIX B | MON STEP LISTS 




















Gnoll fang of Yeenoghu 
Helmed horror 
Incubus 
Lamia 

Lizard king/queen 
Ore war chief 
Red dragon wyrmling 
Sea hag (in coven) 

Shadow demon 
Suecubus 
We reboar 
Weretiger 

Challenge 5 (i P soo XP) 

Air elemental 
Barbed devil 
Barlgura 

Beholder zombie 

Bulette 

Cambion 

Drow elite warrior 
Earth elemental 
Fire elemental 
Flesh golem 
Giant crocodile 


Giant shark 

Gladiator 

Gorgon 

Green hag (in coven) 

Hatred dragon veteran 

Hill giant 

Mezzoloth 

Night hag 

Otyugh 

Red slaadl 

Revenant 

Roper 

Sahuagin baron 
Salamander 
Shambling mound 
Triceratops 
Troll 

Umber hulk 

Unicorn 

Vampire spawn 

Water elemental 

Werebear 

Wraith 

Xorn 

Young remorhaz 



Bonc Devil 





SmAMBL ;Ps*G 
Mound 


Challenge 6 (2,300 XP) 

Chasme 

Chimera 

Cyclops 

□rider 

Caleb duhr 

Grthzerai zerth 

Hobgoblin warlord 

Invisible stalker 

Kuo-toa archpriest 

Mage 

Mammoth 

Medusa 

Vrock 

Wyvern 

Young brass dragon 
Young white dragon 

Challenge 7 [2,900xp) 

Blue slaad 
Grow mage 
Giant ape 
Crick alpha 
Mind flayer 
Night hag (in coven) 

Oni 

Shield guardian 
Stone giant 
Young black dragon 
Young copper dragon 
Yuan-ti abomination 

Challenge 8 (3,900 xp) 

Assassin 
Chain devil 
Cloaker 


Drow priestess of Lolth 

Fomorian 

Frost giant 

Githyanki knight 

Green slaad 

Hezrou 

Hydra 

Mind flayer arcanist 
Spirit naga 
Tyrannosaurus rex 
Young bronze dragon 
Young green dragon 

Challenge 9 (5.000 XP) 

Abominable yeti 
Bone devil 
Clay golem 
Cloud giant 
Fire giant 
Glabrezu 
Gray slaad 
Nycaloth 
Treant 

Young blue dragon 
Young silver dragon 

Challenge 10 (s p 900 xp) 

Aboleth 
Death slaad 
Deva 

Guardian naga 
Stone golem 
Yochlol 

Young gold dragon 
Young red dragon 


308 




AI>P E N D IXB MO N STL k US ! S 














Challenge 11 (7,200 XP) 

Behir 

Dao 

Djinni 

Efreeti 

Gynosphinx 

Horned devii 

Marid 

Remorhaz 

Roc 

Challenge 12{S,400 XP) 

Arcanaloth 

Archmage 

Erinyes 

Challenge 13 (i0,000 XP) 

Adult brass dragon 

Adult white dragon 

Beholder (not in lair) 

Nalfeshnee 

Rakshasa 

Storm giant 

Ultroloth 


Vampire 

Young red shadow dragon 

Challenge 14 (11,500 XP) 

Adult black dragon 
Adult copper dragon 
Beholder (in lair) 

Death tyrant (not in lair) 

Ice devil 

Challenge 15 (13,oooxp) 

Adult bronze dragon 
Adult green dragon 
Death tyrant (in lair) 

Mummy lord (not in lair) 
Purple worm 
Vampire (spellcaster) 

Vampire (warrior) 

Challenge 16 (i5 t QOO XP) 

Adult blue dragon 
Adult silver dragon 
iron golem 
Marilith 


Mummy lord (in lair) 

Planetar 

Challenge 17 (is,OOQXP) 

Adult blue dracolich 
Adult gold dragon 
Adult red dragon 
Androsphinx 
Death knight 
Dragon turtle 
Goristro 

Challenge 18 (20,000xp) 

Demilich (not in lair) 

Challenge 19 (22,000 XP) 

Balor 

Challenge 20 (25 t 000 xpj 

Ancient brass dragon 
Ancient white dragon 
Demilich (in lair) 

Pit fiend 


Challenge 21 (33,000 XP) 

Ancient black dragon 
Ancient copper dragon 
Lich (not in fair) 

Solar 

Challenge 22 (4i,ooo XP) 

Ancient bronze dragon 
Ancient green dragon 
Lich (in lair) 

Challenge 23 ( 50,000 XP) 

Ancient blue dragon 
Ancient silver dragon 
Empyrean 
Kraken 

Challenge 24 (62,000 XP) 

Ancient gold dragon 
Ancient red dragon 

Challenge 30 (155,000 XP) 

Tarrasque 



Aoult Red Dragon 


APPENDIX B I MONSTER LISTS 


30 












Appendix C: Maps 



However, unless you have something specific 
_ in mind, youYe better off conserving your 
JrJ time and energy by repurposing an existing 
► map. Published adventures and the Internet 
are terrific sources for maps. A few sample maps are 
included here as well Use them as you will! 



Ground Floor 


Top Floor 


One square — 5 feet 



. 

, -M 



' 


J 



znd Floor 




1st Floor 


Basement 



One square - 5 feet 



APPENDIX C 


MAPS 









































































































































































































One square - 10 feet 




S Secret Door 
{l Concealed Door 


Door 


Stairs 


Pit Trap 


Secret Tunnel 





TPJ 

1 ; ^ 

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APPENDIX G I MAPS 


' 












































































I 

■ 

I 


APPENDIX L 


313 






























































































































































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Appendix D: Dungeon Master Inspiration 



ERE ARE SEVERAL INSPIRING WORKS THAT CAN 

help you become a better storyteller, writer, 
performer, and mapmaker. This is by no 
means an exhaustive list, but a collection 
of titles picked out by play testers and the 
Dungeons & Dragons creative team. For 
more inspirational reading, see appendix E of the 
Flayer's Handbook. 


Atlas Games. Once Upon a Time: The Storytelling 
Card Game. 

Bernhardt, William. Creating Character: Bringing Your 
Story to Life. 

- Perfecting Plot: Charting the Hero’s Journey. 

-. Story Structure: The Key to Successful Fiction. 





A PPENI'HX II I DU NG KON N1 A.s ; F R ! X SPI R AT 10N 


Bo we rs, Ma 1 c ol m. Ga ry Gyga x s Ex traordina ry 
Book of Names. 

Browning, Joseph & Suzi Yee. A Magical Medieval 
Society: Western Europe . 

Bu r roway, Janet. Writing Fiction. 

Cleaver, Jerry. Immediate Fiction* 

Cordingly, David. Under the Black Flag. 

E gr i, Laj os. The Art of Dram a tic Wri ti ng. 

Ewalt, David M. Of Dice and Men. 

Gygax, Gary. Gary Gygax's Living Fantasy and the rest 
of the Gygaxian Fantasy Worlds series. 

-. Master o f the Game. 

— -—. Role-Flaying Mastery. 

Hind march. Will. The Bones: Us and Our Dice. 
Hindmarch, Will & Jeff Tidbali. Things We Think 
About Games. 

Hirsh, Jr,, E.D, 7V?e New Dictionary of Cultural Literacy 
Ingpen, Robert. The Encyclopedia of Things That 
Never Were. 

Kaufmann, J.E. & HAV. Kaufmann. The 
Medieval Fortress* 

King, Stephen. On Writing: A Memoir of the Cra ft. 
Koster, Raph. A Theory of Fun for Game Design , 

Laws, Robin D. Hamlet 's Hit Fowls* 

Lee, Alan & David Day. Castles. 

Macaulay, David. Castle. 

Malory, Sir Thomas. Le Morte dArthur. 

McKee, Robert. Story: Substance, Structure. Style , and 
the Principles of Screen writing. 

Mortimer, Ian. The Time Traveler's Guide to 
Medieval England. 

O’Connor, Paul Ryan, ed. Grimtooths Traps. 
PennyPress. Variety Puzzles and Games series. 
Peterson, Jon. Playing at the World. 

Robbins, Ben. Microscope. 

Schell, Jesse. Game Design: A Book of Lenses . 

Snyder, Blake. Save the Cat. 

Swift, Michael and Angus Konst am. Cities of the 
Renaissance World. 

Truby, job n. The Anatomy of Story. 

TSR. Anns and Equipment Guide* 

-. Campaign Sourcebook/Catacomb Guide ♦ 

-. The Castle Guide. 

Walmslev, Graham. Play Unsafe: How improvisation 
Can Change the Way You Roleplay. 

Wilford, John Noble, The Mapmakers. 

Wr iters Digest. The Write r s Complete Fa n tasy 
Reference. 








• y -r - 

_ .2 * » , 

































Index 

aasimar, 286-287 
abilities (NPC), 89, 92 
ability check, 237-238, 245, 
263-264 

ability score, S9, 237-240, 
242,263-266 

absent characters, 235-236, 
260 

Abyss, 58, 62-63. See 
also specific layer entries 
Acheron, 58, 66 
action option^ 271-272. See 
o/so specific actions 
activating a magic item, 141 
advantage, 239-240 
adventure, 16, 25, 71-87, 
99-123, 125-126. See 
also creating an adventure 
hooks, 72 
published, 72 
seeds, 125-126 
adventurer NPC, 93 
adventuring day, 84 
air quality, 105 
air vehicles, 119 
alien technology, 268 
alternative rewards, 227-232 
altitude, 110 
animism, 12 
antipaladin, 96. 97 
appearance (NPC), 89 
apprentice, 92-93 
Arborea, 58, 60-61 
Arcadia, 58, 66-67 
arctic monsters, 302 
area of effect, 249-250, 251 
armor, magic, 139 
artifacts, 219-227 
destroying, 221 
properties, 219-221 
art objects, 133, 134-135 
Astral Color pools, 47 
Astral Plane, 43, 46-48 
astral projection, 47 
atonement (paladin), 97 
attack rolls, 235, 238, 239 
attitude (NPC), 244 
attunement, 136-138 
automatic success (variant), 
239 

Avernus (Nine Hells), 64 
awarding experience points, 
260-261 

background NPC, 94 
backgrounds, 26, 264, 

289. See also creating a 
background 
barred doors, 103 
Beastlands, 58, 60 
becoming lost, 111-112, 
117-118 

beginning an adventure, 72, 
74, 77, 79 

between adventures, 125-131 
blessings, 227-228 
bond (NPC), 91 
Border Ethereal, 48 


bringing back the dead, 24 
brown mold, 105 
businesses (character), 127, 
129 

buying magic items, 135-136 
Bytopia, 58, 59-60 
campaign, 9 ? 25-41,126. See 
aha creating a campaign 
tracking, 126 
Cania (Nine Hells), 65 
Carceri, 58, 63 

challenge rating, 82, 92, 274, 
274-275, 279, 306-309 
charges in magic items, 141 
charms, 228 
chases, 252-255 
city, 17 

City of Brass, 55-56 
class, 96-97, 283,287-289 
NPC, 96-97 
cleaving, 272 
climax, 72, 75, 77 
climb onto a bigger creature, 
271 

clues (mystery), 78 
coastal monsters, 302 
cold, no 

collapsing roof (trap), 122 
color pools (Astral), 47 
combat, 247-252, 270-273 
combat encounter, 81-85. See 
also creating an encounter: 
combat 

command word, 141 
commerce, 19-20 
complex traps, 121-122 
complications, 79—SI 
concealed doors, 104 
conditions. 248 
conflict with a sentient item. 
216 


creating a campaign (cont.) 
story, 125 
theme, 36 
time, 32 

creating a currency, 20 
Creating a downtime activity, 
131 

creating a dungeon, 72-73, 
74, 99-105, 290-301. See 
also creating an encounter; 
random encounters 
air quality, 105 
creator, 99-101 
ecology, 102 
encounters, 102 
factions, 101-102 
features, 102-105 
goals, 72-73 
hazards, 105 
history, 101 

inhabitants, 74, 101-102 
light, 104-105 
location, 99 

map, 102-105, 311, 312, 
314,315 
purpose, 101 
random, 290-301 
sounds, 105 
creating a magic item, 
214-216, 284-285 
sentient, 214-216 
creating a monster, 273-283 
class, 283 
features, 280-281 
quickly, 274-275 
stat block, 275-279 
creating a multiverse, 

43-69. See also creating a 
campaign 

Creating an adventure, 5, 71- 
87, 99-105, 125-126. See 


creating an encounter, 81-85, 

102 

character objectives. 81 
combat, 81-85 
budget, 83-84 
difficulty, 82-84, 84-85 
multi-part, S3 
party size, S3 
XP thresholds, 82-83 
dungeon, 102 
fun, 85 

creating an NPC, 89-97, 244, 
279-283 
abilities, 89 
appearance, 89 
attitude, 244 
bond, 91 

challenge rating, 92 
class, 96-97, 283 
detailed, 89-91 
equipment, 92 
flaw, 91 
ideal, 90 

interaction trait, 90 
loyalty, 93 
mannerism, 90 
monster, 91-92 
occupation and history, 89 
quickly, 89 

statistics, 92, 279-283 
talent, 90 

useful knowledge, 90 
villain, 94-97 
creating an organization, 
21-22 

creating a plane, 43 
creating a race, 285-287 
creating a religion, 10-13 
animism, 12 
dualism, 12 

forces and philosophies, 


connecting adventures, 
125-126 

consumable magic Items, 141. 

See disc potions; scrolls 
contacts, 93-94 
contests, 238 
continent scale (map), 14 
continuing campaign, 36 
conversation, 244-245 
cosmology, 43-44 
cover, 251, 272 
crafting a magic item. 

128-129 

creating a background, 26, 

289 

creating a campaign, 14, 

25-41.43-44, 125, See 
also creating a world 
character backgrounds, 26 
characters, 26, 36 
continuing or episodic, 36 
ending, 33 
events, 26-33 
flavor, 38-41 
map, 14, 25-26 
planes of existence, 43-44 
play style, 34-36 


also creating a dungeon; 
Creating an encounter; 
random encounters 
adventure seeds, 125 426 
character goals, 72-74, 76 
climax, 72, 75, 77 
complications, 79-81 
dungeon, 99-105 
elements, 71-72 
event-based, 75-77 
foreshadowing, 126 
intrigue, 78 

introduction, 72, 74, 77, 79 

location-based, 72-75 

maps, 72, 75, 77 

moral quandaries, 79-80 

mystery, 77-78 

NPCs, 74, 75-76, 77, 78 

side quests, 81 

structure, 72 

twists, 80 

type, 72-79 

villain, 74, 75-76, 77, 78 


12-13 

loose pantheon, 10-11 
monotheism, 12 
mystery cults, 11 -12 
racial, 13 

tight pantheon, 11 
creating a settlement, 15-20, 
112-116 

as an adventure site, 16 
atmosphere, 17 
commerce, 19-20 
encounters, 114-116 
government, 17-19 
map, 114, 313 
purpose, 15-16 
random, 112-114 
size, 16-17 

creating a spell, 283-284 
creating a trap, 120-122 
complex, 121-122 
detection, 120-121 
disabling, 120-121 
effects, 121 
trigger, 120 




INDEX 






creating a wilderness, 14, 
25-26, 73, 106-112, 
116-120. See oho creating 
an encounter; random 
encounters 
encounters, 106 
features, 1 OS—109 
goafs, 73 
hazards, 109-112 
map, 14, 25-26, 1 OS—109 
unusual environments, 
116-120 

creating a world, 4. 9-4L 
currency, 19-20 
magic, 9-10, 23-24 
map, 14 
religion, 10-13 
settlements, 15-20 
critical hits, 248 
currency, 19-20, 133, See 
also creating a currency 
cursed items, 138-139 
damage, 249, 273 
damaging objects, 246-247 
dark fantasy, 40 
darkness, 104-105 
dart trap, 123 
Dawn War deities, 10 
DC See Difficulty Class 
Death Dells (Abyss), 63 
Death domain, 96-97 
Deep Ethereal, 48-49 
degrees of failure, 242 
deity, 10-13 
divine rank, 11 
pantheon, 10—11 
racial, 13 
demigod, 11 
demiplane, 68 
Demonweb [Abyss), 62-63 
desecrated ground, 110 
desert monsters, 302 
destroying artifacts, 221 
detecting a hazard, 105 
detecting a trap, 120-121 
diagonal movement, 252 
dice, 235, 236-237 
Difficulty Class, 238-239 
disabling a trap, 120-121 
disadvantage, 239-240 
disarm, 271 
disease, 256-257 
Dis (Nine Hells), 64 
divine rank, 11. also deity; 

specific divine rank entries 
Domains of Dread 
(Shadowfell), 51-52 
doors, 103-104 
downtime activities, 127-131 
dualism, 12 

dungeon. 72-75, 99-105, 
290-301. See also creating a 
dungeon 

Dungeon Master, 4 
echo plane, 43. See 

also Feywild; Shadowfell 
ecology (dungeon), 102 
eladrin, 286 


Elemental Chaos, 52—S3 
Elemental Planes. See Inner 
Planes 

Elysium, 58. 60 
encounter, 75, 77, 81-87, 

102, 106. See also creating 
an encounter; random 
encounters 

ending a campaign, 33 
ending an adventure, 72, 

75, 77 

Endless Maze (Abyss), 63 
environment. 109-112, 
116-120 

epic boons, 230, 231-232 
epic fantasy, 39 
episodic campaign, 36 
equEpment (NPC), 92 
ether cyclone, 49 
Ethereal curtains, 48-49 
Ethereal Plane, 43, 4S-49 
event-based adventure, 75-77 
events [campaign), 26-33 
Evernight (Shadowfell), 52 
expenses (character), 126- 127 
experience points (XP), 

82-84, 260-261 
thresholds, 82-83 
exploration, 242-244 
explosives, 267-268 
extra NPC, 94 
facing, 252 

factions. See organizations; 
see oho creating a dungeon: 
factions 

falling net (trap), 122 
Far Realm, 68 
favors, 229-230 
fear, 266 
fey crossings, 50 
Feywild magic, 50 
Feywild, 43. 49-50 
firearms, 267, 268 
fire-breathing statue (trap), 
122 

flanking, 251 

flavor (campaign), 38-41 
flaw (NPC), 91 
flying, 119-120 
followers, 92-93 
food and water, 111 
foraging, 111 
foreshadowing, 126 
forest monsters, 302-303 
framing events, 79 
frigid water, 110 
fun, 85 

gaining levels, 131,261 
gaining renown, 22, 129 
Gaping Maw (Abyss), 62 
garrisons (character), 127 
gate'towns (Outlands), 67 
Gehenna, 58, 63 
gemstones, 133. 134 
Gloaming Court (Feywild), 49 
god. See deity 
government, 17-19 
grassland monsters, 303 


greater deity, 11 
Great Wheel, 44 
green slime, 105 
grenades, 268 
grid, 250-252 
hack and slash, 34 
Hades, 58, 63 
Harpers, 21 
hazards, 105, 109-112 
healing variants, 266-267 
heat, 110 
heroic fantasy. 38 
hero points, 264 
high altitude. 110 
hill monsters, 304 
hirelings, 94 
hit points, 247-248 
hitting cover, 272 
hoard treasure, 133, 137-139 
home base (for characters), 
15, 25 

honor. 264-265 
horror, 266 
ice (hazard), 110-111 
ideal (NPC), 90 
identifying a magic item. 136 
immersive storytelling, 34 
individual treasure, 133, 136 
Infinite Staircase, 58-59 
influence, 78 
initiative, 247, 270-271 
variants, 270-271 
injuries, 272-273 
Inner Planes, 43, 52-57. See 
also specific Inner Plane 
entries 

inspiration, 240-241 
inspirational reading, 316 
interaction trait (NPC), 90 
intrigue, 40, 78 
kingdom scale (map), 14 
knowledge (NPC), 90 
lairs, 108 
land, 229 
languages, 20—21 
larva (Hades), 63 
law, 114 

layers, planar, 58 
lesser deity, 11 
letters of recommendation, 
228-229 
light, 104-105 
Limbo, 58, 61-62 
line of sight, 251 
linking adventures, 125-126 
location-based adventure, 
72-75 

locked doors, 103 
long rest, 267 
loose pantheon, 10-11 
losing the path, 111-112, 

117-118 

Lower Planes, 58. See 
also Outer Planes 
loyalty, 93 
madness, 258-260 


magic, 9-10, 23-24. See 
also creating a magic item; 
creating a spell; magic 
items 

restrictions, 24 
schools of, 24 
magic items, 128-129, 
129-130,133, 135-227 
alphabetical descriptions, 
150-214 

artifacts, 219-227 
attune merit, 136-138 
buying, 135-136 
categories, 139-140. See 
oho specific category 
entries 

crafting, 128-129, 141 
cursed, 138-139 
formulas, 141 
identifying, 136 
rarity, 135 

resilience, 141, See also 
objects 

selling, 129-130, 135-136 
sentient, 214-218 
special features, 141-143 
wearing and wielding, 
140-141 

Maladomlni (Nine Hells), 65 
Malbolge (Nine Hells), 65 
mannerism (NPC), 90 
mapping, 14, 25-26, 72, 75, 

77, 102-105, 108-109, 114, 
255 

campaign, 14, 25 
scale, 14 
chases, 255 
dungeon,102-105 
samples, 310-315 
settlement, 114 
wilderness, 108-109 
mark, 271 

marks of prestige. 228-231 
massive damage, 273 
Material Plane, 43 
Material Plane echoes, 43. See 
oho Feywild; Shadowfell 
Mechanus, 58, 66 
medals, 229 

memory loss (Feywild), 50 
metagame thinking, 235 
milestones, 261 
Minauros (Nine Hells), 64 
miniatures, 250-252 
missing players, 235-236, 260 
mixing potions, 140 
mobs, 250 

modifying a class, 287-289 
modifying a magic item, 284 
modifying a monster, 273-274 
monotheism, 12 
monsters, 71, 74, 82, 

91-92, 247-248, 273-283, 
302-305, 306-309. See 
oho creating a monster; 
creating an encounter; 
creating an NPC; random 
encounters: specific terrain 
entries 


INDEX 









monsters (corrt.) 
asNPCs, 91-92 
by challenge rating, 
306-909 

by terrain, 302-305 
challenge rating, S2 
hit points, 247-248 
FTTobs P 250 

statistics by challenge 
rating, 274 
monuments, 3OS 
morale, 273 

moral quandaries, 79-80 
mountain monsters, 304 
Mount Celestia, 58, 59 
movement, 252 
multiverse, 43-69. See 
also creating a multiverse 
mystery, 40. 77-78 
mystery cults, 11-12 
mythic fantasy, 39 
navigation, 111-112. 117-118 
Negative Plane, 43 
Nessus (Nine Hells), 66 
net (trap), 122 
new players, 236 
Nine Hells, 58, 64-66. See 
also specific layer entries 
noble titles, 19, 230 
noncombat challenges, 261 
nonplayer character. See NPC 
noticing other creatures, 243 
NPC, 74, 75-76, 77, 78, 

89-97, 244-246, 247-248. 
See oho creating an N PC: 
villain 

adventurer, 93 
hit points* 247-24S 
party members, 92-93 
rolepfaying, 244-246 
oathbreaker (paladin), 97 
objects, 246-247 
occupation (NPC), 89 
ocean,117-119 
organisations, 21-23. 

See also creating an 
organization 
adventurer, 21-22 
rank, 22 
renown, 22-23 
sample, 21. 23 
other rewards, 227-232 
Outer Planes, 43 T 57-67. See 
also specific Outer Plane 
entries 

optional rules, 59 
Gutlands, 67-68 
overrun, 272 

Owning property, 126-127 
Pandemonium, 58, 62 
pantheon, 10-11, 13 
loose, 10-11 
of the Dawn War. IT 
racial, 13 
sample, 11 
tight, 11 
patron, 94 

performing sacred rites, 129 



philosophies, 12-13 
Phlegethos (Nine Hells), 64 
piety, 23 

pit (trap), 122-123 
planar categories, 43 
planar layers* 58 
planar portals, 45. 47, 48-49, 
50, 51, 58-59. 67-68 
planar travel, 44-46, 58-59. 

See also planar portals 
Plane of Air, 53-54 
Plane of Earth, 54 
Plane of Faerie, See Feywild, 
Plane of Fire, 55-56 
Plane of Shadow. 

See Shadowfell 
Plane of Water, 5 6-57 
planes of existence, 43-69. 
See also cosmology; specific 
plane entries 
players, 6 
play style, 34-36 
plot points, 269-270 
poison, 257-258 
poison darts (trap), 123 
poison needle (trap), 123 
portcullises, 104 
Positive Plane, 43 
potions, 139, 140 
precipitation, 110 
proficiency, 239, 263-264 
background, 264 
dice, 263 

personality trait, 264 
property (character), 126-127 
province scale (map), 14 
psychic dissonance (Outer 
Planes), 59 

psychic wind (Astral), 47-48 
published adventures, 72 
published worlds, 9, 68 
quicksand, 110 
quirk, 90, 143 
magic item, 143 
NPC, 90 
race, 285-287 
racial deity, 13 
rain, 110 

raising a stronghold, 128 
random dungeons, 290-301 
random encounters, 85-87, 
106, 114-116, 118 
challenge, 87 
checking for, 86 
creating tables, 86-87 
sample table, 87 
sea,118 

settlement, 114-116 
triggering, 85 
underwater, 116 
wilderness, 106 
random magic items, 144-149 
random settlements, 

112-114. See also creating a 
settlement 

random treasure, 133-135, 
136-139, 144-149 
rank (in an organization), 22 


rarity, 135 
razorvine, 110 
reactions, 252 
religion, 10-13, See 
also creating a religion 
renown, 22-23, 78, 129 
as piety, 23 
benefits, 22-23 
gaming, 22, 129 
losing, 23 

resolving social interaction, 
244-245 

restrictions on magic, 24 
rest variants, 267 
resurrection, 24 
rings, 139 
River Styx, 58 
rods, 139 

roleplaying, 245-246 
rolling sphere (trap), 123 
rolling the dice, 235, 236-237, 
242 

ruins, 108 
rules, 5 


rules discussions, 235 
running a business, 127,129 
running the game, 235-261 
sailing vessels, 119 
sanity, 265-266 
saving throws, 238. 239 
schools of magic, 24 
scrolls, 139, 140 
mishaps, 140 
sea,117-119 
secret doors, 103-104 
seelie fey, 49 

selling magic stems, 129-130, 
135-136 

sentient magic items, 

214-218 

settlements, 15-20, 108, 112- 
116, 254. See oho creating a 
settlement 
chases, 254 
shadow crossings, 51 
Shadowfell despair, 52 
Shadowfell, 43, 51-52 
ships, 119 


V9 


INDEX 












* 












shipwrecks, ilS 
short rest, 84, 267 
shove aside, 272 
side quests, SI 
siege equipment, 2SS-256 
Sigil, City of Doors, 58, 68 
silver cord, 47 
size, 251 

skills, 239. 263-264 
sky, 119-120 
slippery ice, 110 
small player groups, 236 
snow, HO 

social interaction, 244-246 
resolving, 244-245 
rolepiaying, 245-246 
sounds, 105 
sowing rumors, 131 
special features for magic 
items, 141-143 
special rights, 230 
speed factor, 270-271 
spell points, 2SS-2S9 
spells in magic items, 141 
sphere of annihilation (trap), 
123 

spiderwebs, 105 
spiked pit (trap). 123 
staff’s, 140 

starting at higher level, 38 
starting attitude (NPC) r 244 
story, 71, 72, 125 
strongholds, 109, 12S, 230 


structure (adventure), 72 
stuck doors, 103 
Stygia (Nine Hells), 64-65 
Styx. See River Styx 
subrace, 285-2S7 
success at a cost, 242 
Summer Court (Feywild), 49 
supernatural gifts, 227-228 
survival, 109-112 
suspects (mystery), 77-78 
swamp monsters, 304 
swashbuckling, 40 
swimming, 116-117 
swords and sorcery, 38-39 
system shock, 273 
table rules, 235-236 
table talk, 235 
tactical map, 250-252 
talent (NPC), 90 
teleportation circles, 24 
temperature, 109-110 
Thanatos (Abyss), 62 
theme (campaign), 36 
thin ice,111 
tiers of play, 36-38 
tight pantheon, 11 
time, 32-33 

time warp (Feywild), 50 

titan, 11 

titles, I9 r 230 

tools, 239 

town, 17 

tracking, 244 


training, 131, 231 
to gain levels, 131 
Transitive Planes, 43 
traps, 120-123. See 
also creating a trap 
sample, 122-123 
travel, 1Q6-108, 109-112, 
116-120, 242-244 
pace, 242-243 
treasure, 133-232 
tables, 133, 136-139, 
144-149 

triggering a trap, 120 
Triple Realm (Abyss), 63 
tumble, 272 
twists (adventure), 80 
Underdark monsters, 305 
underwater, 116-117, 305 
monsters, 305 
unseelie fey, 49 
Upper Planes, 58. See 
also Outer Planes 
urban monsters, 305 
using ability scores, 237-240, 
242 

using a map, 242 
using magic items, 140-141 
using the dice, 235, 236-237, 
242 

vehicles, 119 
vestige, 11 
victim (mystery), 77 
village, 16-17 




villain, 74, 75-76, 77, 78, 
94-97 

class options, 96-97 
methods, 95 
scheme, 94 
weakness, 96 
visibility, 117, 119, 243 
walls, 102 

wandering monsters, 
302-305 
wands, 140 
war, 40-41 
water vehicles, 119 
weapons, magic. 140 
wearing and wielding magic 
Items, 140-141 
weather, 109-110, 118-119 
webs, 105 
weirdness, 109 
wilderness, 73, 106-112, 116 
120, 254. See also creating 
a wilderness 
chases, 254 
wind, 110 

wondrous items, 140 
World Axis, 44 
world building, 9-41, 43-69 
World Tree, the, 44 
wuxia, 41 

XP r 82-84, 260-261 
thresholds, 82-83 
yellow mold, 105 
Ysgard, 58. 61 
Zhentarim, 23 


T40 


INDEX 







