Xanathar S Guide To Everything
User Manual:
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CONTENTS
Introduction
4
Using
This
Book
4
The
Core
Rules
5
Ch.
1:
Character
Options
...........................
7
Barbarian
8
Primal
Paths
9
Path
of
the
Ancestral
Guardian
............
9
Path
ofthe
Storm
Herald
.....................
10
Path
of
the
Zealot
11
Bard
l2
Bard
Colleges
14
College
of
Glamour
14
College
of
Swords
15
College
of
Whispers
.......................
16
Cleric
17
Divine
Domains
18
Sidebar:
Serving
a
Pantheon;
Philosophy,
or
Force
...................
18
Forge
Domain
18
Grave
Domain
19
Druid
21
Druid
Circles
22
Circle
of
Dreams
22
Circle
of
the
Shepherd
...................
23
Learning
Beast
Shapes
.................
24
Fighter
27
Martial
Archetypes
28
Arcane
Archer
28
Cavalier
30
Samurai
31
Monk
32
Monastic
Traditions
.......................
33
Way
of
the
Drunken
Master
.........
33
Way
of
the
Kensei
34
Way
of
the
Sun
Soul
.......................
35
Paladin
36
Sacred
Oaths
37
Oath
of
Conquest
37
Oath
of
Redemption
.......................
38
Ranger
4O
Ranger
Archetypes
41
Gloom
Stalker
4].
Horizon
Walker
42
Monster
Slayer
43
Rogue
44
Roguish
Archetypes
.......................
45
Inquisitive
45
Mastermind
46
Scout
47
Swashbuckler
47
Sorcerer
48
Sorcerous
Origins
50
Divine
Soul
50
Shadow
Magic
50
Storm
Sorcery
51
Warlock
53
Otherworldly
Patrons
....................
54
The
Celestial
54
The
Hexblade
55
Eldritch
Invocations
.......................
56
Wizard
58
Arcane
Tradition
59
1War
Magic
59
This
Is
Your
Life
61
61
Origins
Personal
Decisions
64
Life
Events
69
Supplemental
Tables
......................
Racial
Feats
.......
72
73
Ch.
2:
Dungeon
Master's
Tools
......
Simultaneous
Effects
.......
77
77
Falling
77
Rate
of
Falling
77
Flying
Creatures
and
Falling
.......
Sleep
.......
77
77
77
Waking
Someone
Sleeping
in
Armor
..........................
Going
without
a
Long
Rest
...........
Adamantine
Weapons
........................
Tying
Knots
.......
77
.......
78
.......
78
78
Tool
Proficiencies
Tools
and
Skills
Together
.............
Tool
Descriptions
78
.......
78
78
85
Spellcasting
Perceiving
a
Caster
at
Work
.........
Identifying
a
Spell
.......
85
85
Invalid
Spell
Targets
......................
Areas
of
Effect
on
a
Grid
...............
.......
85
.......
86
88
Encounter
Building
.....
Quick
Matchups
91
Random
Encounters:
A
World
of
Possibilities
Arctic
Encounters
Coastal
Encounters
........................
Desert
Encounters
.......
93
Forest
Encounters
97
Grassland
Encounters
...................
Hill
Encounters
Mountain
Encounters
....................
Swamp
Encounters
........................
Underdark
Encounters
..................
Underwater
Encounters
.................
Urban
Encounters
Traps
Revisited
Simple
Traps
Sidebar:
Making
Traps
Meaningful
Designing
Simple
Traps
................
Complex
Traps
Designing
Complex
Traps
.............
Sidebar:
Complex
Traps
and
Legendary
Monsters
...................
Downtime
Revisited
Rivals
Downtime
Activities
.......................
Buying
a
Magic
Item
...................
Carousing
Crafting
an
Item
Crime
Gambling
Pit
Fighting
Relaxation
Religious
Service
.........................
Research
Scribing
a
Spell
Scroll
...............
Selling
a
Magic
Item
...................
Training
Work
.....
100
101
104
105
106
109
110
113
113
114
115
118
121
123
123
123
125
126
127
128
130
130
131
131
131
132
133
133
134
134
Awarding
Magic
Items
......................
Sidebar:
Behind
the
Design:
Magic
Item
Distribution
........................
Common
Magic
Items
...................
Sidebar:
Are
Magic
Items
Necessary
in
a
Campaign?
.......
Sidebar:
Creating
Additional
Common
Items
Magic
Item
Tables
Sidebar:
Recharging
without
a
Dawn
Ch.
3:
Spells
Spell
Lists
Spell
Descriptions
App.
A:
Shared
Campaigns
............
App.
B:
Character
Names
...............
Nonhuman
Names
Dragonborn
Dwarf
Elf
Gnome
Halfling
Half-Ore
Tiefling
Human
Names
Arabic
Celtic
Chinese
Egyptian
English
French
German
Greek
Indian
japanese
Mesoamerican
Niger—Congo
Norse
Polynesian
Roman
Slavic
Spanish
......
135
......
135
......
136
......
136
140
140
144
147
147
150
172
175
175
175
176
176
178
179
179
INTRODUCTION
ENEATH
THE
BUSTL-ING
CITY
OF
WATERDEEP,
D
a
beholder
crime
lord
keeps
tabs
on
everyone
and
everything—or
so
the
beholder
thinks.
Known
as
Xanathar,
this
bizarre
being
be-
lieves
it
can
gather
information
on
everything
in
the
DUNGEONS
8t
DRAGONS
multiverse.
.
The
beholder
desires
to
know
it
all!
But
no
matter
what
the
beholder
learns
and
what
treasures
it
acquires,
its
most
prized
possession
in
all
the
multi—
verse
remains
its
goldfish,
Sylgar.
The
first
major
roles
expansion
to
the
fifth
edition
of
D&D,
Xanathar's
Guide
to
Everything
provides
a
wealth
of
new
options
for
the
game.
Xanathar
might
not
be
able
to
realize
its
dream
to
know
everything,
but
this
book
does
delve
into
every
major
part
of
the
game:
adventur-
ers,
their
adventures,
and
the
magic
they
wield.
USING
THIS
BOOK
Written
for
both
players
and
Dungeon
Masters,
this
book
offers
options
to
enhance
campaigns
in
any
world,
whether
you’re
adventuring
in
the
Forgotten
Realms,
another
official
D&D
setting,
or
a
world
of
your
own
creation.
The
options
here
build
on
the
official
rules
contained
within
the
Player's
Handbook,
the
Monster
Manual,
and
the
Dungeon
Master’s
Guide.
Think
of
this
book
as
the
companion
to
those
volumes.
It
builds
on
their
foundation,
exploring
pathways
first
laid
in
those
publications.
Nothing
herein
is
required
for
a
D8£D
cam-
paign—this
is
not
a
fourth
core
rulebook—but
we
hope
it
will
provide
you
new
ways
to
enjoy
the
game.
Chapter
1
offers
character
options
that
expand
on
those
offered
in
the
Player’s
Handbook.
Chapter
2
is
a
toolkit
for
the
DM
that
provides
new
resources
for
run—
ning
the
game
and
designing
adventures,
all
of
it
build-
ing
on
the
Monster
Manual
and
the
Dungeon
Master’s
Guide.
Chapter
3
presents
new
spells
for
player
charac—
ters
and
spellcasting
monsters
to
unleash.
Appendix
A
provides
guidance
on
running
a
shared
campaign,
similar
to
the
activities
staged
by
the
D&D
Adventurers
League,
and
appendix
B
contains
a
host
of
tables
that
allow
you
to
quickly
generate
names
for
the
characters
in
your
D&D
stories.
As
you
peruse
the
many
options
herein,
you'll
come
across
observations
from
Xanathar
itself.
Like
the
beholder’s
roving
mind,
your
reading
will
take
you
to
places
in
the
game
familiar
and
new.
May
you
enjoy
thejourney!
.‘
4L
UNEARTHED
ARCANA
Much
ofthe
material
in
this
book
originally
appeared
in
Unearthed
Arcana,
a
series
ofonline
articles
we
publish
to
explore
rules
that
might
ofificially
become
part
of
the
game.
Some
Unearthed
Arcana
offerings
don’t
end
up
resonating
with
fans
and
are
set
aside
for
the
time
being.
The
Unearthed
Arcana
material
that
inspired
the
options
in
the
following
chapters
was
well
received
and,
thanks
to
feedback
from
thousands
ofyou,
has
been
refined
into
the
official
forms
presented
here.
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THE
CORE
RULES
This
book
relies
on
the
rules
in
the
three
core
rules
books.
The
game
especially
makes
frequent
use
of
the
rules
in
chapters
7—10
of
the
Player’s
Handbook:
“Using
Ability
Scores,”
“Adventuring,”
“Combat,”
and
“Spellcasting.”
That
book’s
appendix
A
is
also
crucial;
it
contains
definitions
of
conditions,
like
invisible
and
prone.
You
don’t
need
to
know
the
rules
by
heart,
but
it’s
helpful
to
know
where
to
find
them
when
you
need
them.
If
you’re
a
BM,
you
should
also
know
where
to
look
things
up
in
the
Dungeon
Master’s
Guide,
especially
the
rules
on
how
magic
items
work
(see
chapter
'7
of
that
book).
The
introduction
of
the
Monster
Manual
is
your
guide
on
how
to
use
a
monster’s
stat
block.
THE
DM
ADJUDICATES
THE
RULES
One
rule
overrides
all
others:
the
DM
is
the
final
author-
ity
on
how
the
rules
work
in
play.
Rules
are
part
of
what
makes
DEED
a
game,
rather
thanjust
improvised
storytelling.
The
game’s
rules
are
meant
to
help
organize,
and
even
inspire,
the
action
of
a
DEED
campaign.
The
rules
are
a
tool,
and
we
want
our
tools
to
be
as
effective
as
possible.
No
matter
how
good
those
tools
might
be,
they
need
a
group
of
players
to
bring
them
to
life
and
a
BM
to
guide
their
use.
The
DM
is
key.
Many
unexpected
events
can
occur
in
a
DEED
campaign,
and
no
set
of
rules
could
reasonably
account
for
every
contingency.
If
the
rules
tried
to
do
so,
the
game
would
become
a
slog.
An
alternative
would
be
for
the
rules
to
severely
limit
what
characters
can
do,
which
would
be
contrary
to
the
open—endedness
of
D8tD.
Here's
the
path
the
game
takes:
it
lays
a
foundation
of
rules
that
a
BM
can
build
on,
and
it
embraces
the
DM's
role
as
the
bridge
between
the
things
the
rules
address
and
the
things
they
don’t.
TEN
RULES
To
REMEMBER
A
few
rules
in
the
core
rulebooks
sometimes
trip
up
a
new
player
or
DM.
Here
are
ten
of
those
rules.
Keep—
ing
them
in
mind
will
help
you
interpret
the
options
in
this
book.
EXCEPTIONS
SUPERSEDE
GENERAL
RULES
General
rules
govern
each
part
of
the
game.
For
exam—
ple,
the
combat
rules
tell
you
that
melee
weapon
attacks
use
Strength
and
ranged
weapon
attacks
use
Dexterity.
That’s
a
general
rule,
and
a
general
rule
is
in
effect
as
long
as
something
in
the
game
doesn't
explicitly
say
otherwise.
The
game
also
includes
elements—class
features,
spells,
magic
items,
monster
abilities,
and
the
like—that
sometimes
contradict
a
general
rule.
When
an
exception
and
a
general
rule
disagree,
the
exception
wins.
For
ex-
ample,
if
a
feature
says
you
can
make
melee
weapon
at—
tacks
using
your
Charisma,
you
can
do
so,
even
though
that
statement
disagrees
with
the
general
rule.
Rou
N D
DOWN
Whenever
you
divide
or
multiply
a
number
in
the
game,
round
down
if
you
end
up
with
a
fraction,
even
if
the
fraction
is
one-half
or
greater.
ADVANTAGE
AND
DISADVANTAGE
Even
if
more
than
one
factor
gives
you
advantage
or
disadvantage
on
a
roll,
you
have
it
only
once,
and
if
you
have
advantage
and
disadvantage
on
the
same
roll,
they
cancel
each
other.
COMBINING
DIFFERENT
EFFECTS
Different
game
effects
can
affect
a
target
at
the
same
time.
For
example,
two
different
benefits
can
give
you
a
bonus
to
your
Armor
Class.
But
when
two
or
more
effects
have
the
same
proper
name,
only
one
of
them
(the
most
powerful
one
if
their
benefits
aren’t
identical)
applies
while
the
durations
of
the
effects
overlap.
For
ex—
ample,
if
bless
is
cast
on
you
when
you’re
still
under
the
effect
of
an
earlier
bless,
you
gain
the
benefit
of
only
one
casting.
Similarly,
if
you’re
in
the
radius
of
more
than
one
Aura
of
Protection,
you
benefit
only
from
the
one
that
grants
the
highest
bonus.
REACTION
TIMING
Certain
game
features
let
you
take
a
special
action,
called
a
reaction,
in
response
to
some
event.
Making
opportunity
attacks
and
casting
the
shield
spell
are
two
typical
uses
of
reactions.
If
you’re
unsure
when
a
reac-
tion
occurs
in
relation
to
its
trigger,
here’s
the
rule:
the
reaction
happens
after
its
trigger
completes,
unless
the
description
of
the
reaction
explicitly
says
otherwise.
Once
you
take
a
reaction,
you
can’t
take
another
one
until
the
start
of
your
next
turn.
RESISTANCE
AND
VULNERABILITY
Here’s
the
order
that
you
apply
modifiers
to
damage:
(1)
any
relevant
damage
immunity,
(2)
any
addition
or
sub-
traction
to
the
damage,
(3)
one
relevant
damage
resis-
tance,
and
(4)
one
relevant
damage
vulnerability.
Even
if
multiple
sources
give
you
resistance
to
a
type
of
damage
you’re
taking,
you
can
apply
resistance
to
it
only
once.
The
same
is
true
of
vulnerability.
PROFICIENCY
BONUS
If
your
proficiency
bonus
applies
to
a
roll,
you
can
add
the
bonus
only
once
to
the
roll,
even
if
multiple
things
in
the
game
say
your
bonus
applies.
Moreover,
if
more
than
one
thing
tells
you
to
double
or
halve
your
bonus,
you
double
it
only
once
or
halve
it
only
once
before
apply-
ing
it.
Whether
multiplied,
divided,
or
left
at
its
normal
value,
the
bonus
can
be
used
only
once
per
roll.
BONUS
ACTION
SPELLS
If
you
want
to
cast
a
spell
that
has
a
casting
time
of
1
bonus
action,
remember
that
you
can’t
cast
any
other
spells
before
or
after
it
on
the
same
turn,
except
for
can-
trips
with
a
casting
time
of
1
action.
CONCENTRATION
As
soon
as
you
start
casting
a
spell
or
using
a
special
ability
that
requires
concentration,
your
concentration
on
another
effect
ends
instantly.
TEM
PORARY
I-IIT
POINTS
Temporary
hit
points
aren’t
cumulative.
If
you
have
tem—
porary
hit
points
and
receive
more
of
them,
you
don’t
add
them
together,
unless
a
game
feature
says
you
can.
Instead,
you
decide
which
temporary
hit
points
to
keep.
__
CHAPTERI
r:
CHARACTER
OPTIONS
HE
MAIN
FIGURES
IN
ANY
DBZD
CAMPAIGN
are
the
characters
created
by
the
players.
The
heroics,
folly,
righteousness,
and
po-
tential
villainy
of
your
characters
are
at
the
heart
of
the
story.
This
chapter
provides
a
variety
of
new
options
for
them,
focusing
on
additional
subclasses
for
each
of
the
classes
in
the
Player's
Handbook.
Each
class
offers
a
character—defining
choice
at
lst,
2nd,
or
3rd
level
that
unlocks
a
series
of
special
fea-
tures,
not
available
to
the
class
as
a
whole.
That
choice
is
called
a
subclass.
Each
class
has
a
collective
term
that
describes
its
subclasses:
in
the
fighter,
for
instance,
the
subclasses
are
called
martial
archetypes,
and
in
the
paladin,
they’re
sacred
oaths.
The
table
below
identifies
SUBCLASSES
Class
Subclass
Level
Available
Barbarian
Path
ofthe
Ancestral
Guardian
3rd
Barbarian
Path
ofthe
Storm
Herald
3rd
Barbarian
Path
ofthe
Zealot
3rd
Bard
College
ofGlamour
3rd
Bard
College
of
Swords
3rd
Bard
College
ofWhispers
3rd
Cleric
Forge
Domain
lst
Cleric
Crave
Domain
lst
Druid
Circle
of
Dreams
2nd
Druid
Circle
ofthe
Shepherd
2nd
Fighter
Arcane
Archer
3rd
Fighter
Cavalier
3rd
Fighter
Samurai
3rd
Monk
Way
ofthe
Drunken
Master
3rd
Monk
Way
ofthe
Kensei
3rd
Monk
Way
ofthe
Sun
Soul
3rd
Paladin
Oath
ofConquest
3rd
Paladin
Oath
of
Redemption
3rd
Ranger
Gloom
Stalker
3rd
Ranger
Horizon
Walker
3rd
Ranger
Monster
Slayer
3rd
Rogue
Inquisitive
3rd
Rogue
Mastermind
3rd
-
Rogue
Scout
3rd
Rogue
Swashbuckler
3rd
Sorcerer
Divine
Soul
lst
'
Sorcerer
Shadow
Magic
lst
Sorcerer
Storm
Sorcery
lst
Warlock
The
Celestial
lst
Warlock
The
Hexblade
lst
Wizard
War
Magic
2nd
=
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. .
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1-
each
of
the
subclasses
in
this
book.
In
addition,
the
sec-
tion
for
druids
presents
details
on
how
the
Wild
Shape
feature
works,
and
the
warlock
receives
a
collection
of
new
choices
for
the
class's
Eldritch
Invocations
feature.
Each
of
the
class
presentations
leads
off
with
advice
on
how
to
add
depth
and
detail
to
your
character’s
per-
sonality.
You
can
use
the
tables
in
these
sections
as
a
source
of
inspiration,
or
roll
a
die
to
randomly
deter—
mine
a
result
if
desired.
Following
the
subclasses,
the
section
called
“This
Is
Your
Life"
presents
a
series
of
tables
for
adding
detail
to
your
character’s
backstory.
The
chapter
concludes
with
a
selection
of
feats
for
the
races
in
the
Player’s
Handbook,
offering
ways
to
delve
deeper
into
a
character's
racial
identity.
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Description
Calls
on
the
spirits
of
honored
ancestors
to
protect
others
Filled
with
a
rage
that
channels
the
primal
magic
ofthe
storm
Fueled
by
a
religious
zeal
that
visits
destruction
on
foes
Wields
the
beguiling,
glorious
magic
ofthe
Feywild
Entertains
and
slays
with
daring
feats
ofweapon
prowess
Plants
fear
and
doubt
in
the
minds
ofothers
Clad
in
heavy
armor,
serves
a
god
ofthe
forge
or
creation
Opposes
the
blight
of
undeath
Mends
wounds,
guards
the
weary,
and
strides
through
dreams
Summons
nature
spirits
to
bolster
friends
and
harry
foes
Imbues
arrows
with
spectacular
magical
effects
Defends
allies
and
knocks
down
enemies,
often
on
horseback
Combines
resilience
with
courtly
elegance
and
mighty
strikes
Confounds
foes
through
a
martial
arts
tradition
inspired
by
the
swaying
ofa
drunkard
Channels
ki
through
a
set
of
mastered
weapons
Transforms
ki
into
bursts
offire
and
searing
bolts
oflight
Strikes
terror
in
enemies
and
crushes
the
forces
of
chaos
Offers
redemption
to
the
worthy
and
destruction
to
those
who
refuse
mercy
or
righteousness
Unafraid
ofthe
dark,
relentlessly
stalks
and
ambushes
foes
Finds
portals
to
other
worlds
and
channels
planar
magic
Hunts
down
creatures
ofthe
night
and
wielders
ofgrim
magic
Roots
out
secrets,
akin
to
a
masterful
detective
A
mastertactician,
manipulates
others
Combines
stealth
with
a
knack
for
survival
Delivers
deadly
strikes
with
speed
and
panache
Harnesses
magic
bestowed
by
a
god
or
other
divine
source
Wields
the
grim
magic
ofthe
Shadowfell
Crackles
with
the
power
ofthe
storm
.-
"-
Forges
a
pact
with
a
being
from
celestial
realms
»
Serves
a
shadowy
entity
that
bestows
dread
curses
l
Mixes
evocation
and
abjuration
magic
to
dominate
the
battlefield
r.
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BARBARIAN
I
HAVE
VVITNESSED
THE
INDOMITABLE
PERFORlyiANCE
OF
barbarians
an
thefieid
of
battle,
and
it
makes
me
wonder
what
force
lies
at
the
heart
of
their
rage.
—Seret,
archwizard
The
anger
felt
by
a
normal
person
resembles
the
rage
of
a
barbarian
in
the
same
way
that
a
gentle
breeze
is
akin
to
a
furious
thunderstorm.
The
barbarian’s
driving
force
comes
from
a
place
that
transcends
mere
emotion,
mak-
ing
its
manifestation
all
the
more
terrible.
Whether
the
impetus
for
the
fury
comes
entirely
from
within
or
from
forging
a
link
with
a
spirit
animal,
a
raging
barbarian
becomes
able
to
perform
supernatural
feats
of
strength
and
endurance.
The
outburst
is
temporary,
but
while
it
lasts,
it
takes
over
body
and
mind,
driving
the
barbarian
on
despite
peril
and
injury,
until
the
last
enemy
falls.
It
can
be
tempting
to
play
a
barbarian
character
that
is
a
straightforward
application
of
the
classic
arche-
type—a
brute,
and
usually
a
dimwitted
one
at
that,
who
rushes
in
where
others
fear
to
tread.
But
not
all
the
barbarians
in
the
world
are
cut
from
that
cloth,
so
you
can
certainly
put
your
own
spin
on
things.
Either
way,
consider
adding
some
flourishes
to
make
your
barbarian
stand
out
from
all
others;
see
the
following
sections
for
some
ideas.
PERSONAL
TOTEMS
Barbarians
tend
to
travel
light,
carrying
little
in
the
way
of
personal
effects
or
other
unnecessary
gear.
The
few
possessions
they
do
carry
often
include
small
items
that
have
special
significance.
A
personal
totem
is
significant
because
it
has
a
mystical
origin
or
is
tied
to
an
import-
ant
moment
in
the
character’s
life—perhaps
a
remem-
brance
from
the
barbarian’s
past
or
a
harbinger
of
what
lies
ahead.
A
personal
totem
of
this
sort
might
be
associated
with
a
barbarian’s
spirit
animal,
or
might
actually
be
the
to
tem
object
for
the
animal,
but
such
a
connection
is
not
essential.
One
who
has
a
bear
totem
spirit,
for
instance,
could
still
carry
an
eagle’s
feather
as
a
personal
totem.
Consider
creating
one
or
more
personal
totems
for
your
character—-objects
that
hold
a
special
link
to
your
character‘s
past
or
future.
Think
about
how
a
totem
might
affect
your
character’s
actions.
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PERSONAL
TOTEMS
d6
Totem
l
A
tuft
offur
from
a
solitary
wolfthat
you
be-
friended
during
a
hunt
2
Three
eagle
feathers
given
to
you
by
a
wise
sha-
man,
who
told
you
they
would
play
a
role
in
deter-
mining
your
fate
3
A
necklace
made
from
the
claws
ofa
young
cave
bear
that
you
slew
singlehandedly
as
a
child
4
A
small
leather
pouch
holding
three
stones
that
represent
your
ancestors
5
A
few
small
bones
from
the
first
beast
you
killed,
tied
together
with
colored
wool
6
An
egg-sized
stone
in
the
shape
ofyour
spirit
ani-
mal
that
appeared
one
day
in
your
belt
pouch
TATTOOS
The
members
of
many
barbarian
clans
decorate
their
bodies
with
tattoos,
each
of
which
represents
a
signif-
icant
moment
in
the
life
of
the
bearer
or
the
bearer's
ancestors,
or
which
symbolizes
a
feeling
or
an
attitude.
As
with
personal
totems,
a
barbarian’s
tattoos
might
or
might
not
be
related
to
an
animal
spirit.
Each
tattoo
a
barbarian
displays
contributes
to
that
in-
dividuals
identity.
If
your
character
wears
tattoos,
what
do
they
look
like,
and
what
do
they
represent?
TATTOOS
d6
Tattoo
l
The
wings
ofan
eagle
are
spread
wide
across
your
upper
back.
2
Etched
on
the
backs
ofyour
hands
are
the
paws
of
a
cave
bear.
3
The
symbols
ofyour
clan
are
displayed
in
viny
pat»
terns
along
your
arms.
The
antlers
of
an
elk
are
inked
across
your
back.
5
Images
ofyour
spirit
animal
are
tattooed
along
your
weapon
arm
and
hand.
6
The
eyes
ofa
wolfare
marked
on
your
back
to
help
you
see
and
ward
off
evil
spirits.
SUPERSTITIONS
Barbarians
vary
widely
in
how
they
understand
life.
Some
follow
gods
and
look
for
guidance
from
those
deities
in
the
cycles
of
nature
and
the
animals
they
en—
counter.
These
barbarians
believe
that
spirits
inhabit
the
plants
and
animals
of
the
world,
and
the
barbarians
look
to
them
for
omens
and
power.
Other
barbarians
trust
only
in
the
blood
that
runs
in
their
veins
and
the
steel
they
hold
in
their
hands.
They
have
no
use
for
the
invisible
world,
instead
relying
on
their
senses
to
hunt
and
survive
like
the
wild
beasts
they
emulate.
LEFT
TO
Qiom’:
ZEALOT,
STORM
HERALD,
AND
ANCESTRAL
GUARoiAN
Both
of
these
attitudes
can
give
rise
to
supersti-
tions.
These
beliefs
are
often
passed
down
within
a
family
or
shared
among
the
members
of
a
clan
or
a
hunting
group.
If
your
barbarian
character
has
any
superstitions,
were
they
ingrained
in
you
by
your
family,
or
are
they
the
result
of
personal
experience?
SUPERSTITIONS
d6
Superstition
l
lfyou
disturb
the
bones
ofthe
dead,
you
inherit
all
the
troubles
that
plagued
them
in
life.
2
Never
trust
a
wizard.
They’re
all
devils
in
disguise,
especially
the
friendly
ones.
3
Dwarves
have
lost
their
spirits,
and
are
almost
like
the
undead.
That's
why
they
live
underground.
4
Magical
things
bring
trouble.
Never
sleep
with
a
magic
object
within
ten
feet
of
you.
5
When
you
walk
through
a
graveyard,
be
sure
to
wear
silver,
or
a
ghost
might
jump
into
your
body.
6
lfan
elf
looks
you
in
the
eyes,
she’s
trying
to
read
yourthoughts.
PRIMAL
PATHS
At
3rd
level,
a
barbarian
gains
the
Primal
Path
feature.
The
following
options
are
available
to
a
barbarian,
in
addition
to
those
offered
in
the
Player’s
Handbook:
the
Path
of
the
Ancestral
Guardian,
the
Path
of
the
Storm
Herald,
and
the
Path
of
the
Zealot.
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smokers
qr:
we“!
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padre-slalom
lclnihg
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wort
creel:
lot‘tirt
(10%
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loom?
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crack?
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PATH
OF
THE
ANCESTRAL
GUARDIAN
Some
barbarians
hail
from
cultures
that
revere
their
an-
cestors.
These
tribes
teach
that
the
warriors
of
the
past
linger
in
the
world
as
mighty
spirits,
who
can
guide
and
protect
the
living.
When
a
barbarian
who
follows
this
path
rages,
the
barbarian
contacts
the
spirit
world
and
calls
on
these
guardian
spirits
for
aid.
Barbarians
who
draw
on
their
ancestral
guardians
can
better
fight
to
protect
their
tribes
and
their
allies.
In
order
to
cement
ties
to
their
ancestral
guardians,
bar-
barians
who
follow
this
path
cover
themselves
in
elabo—
rate
tattoos
that
celebrate
their
ancestors’
deeds.
These
tattoos
tell
sagas
of
victories
against
terrible
monsters
and
other
fearsome
rivals.
PATH
or
THE
ANCESTRAL
GUARDIAN
FEATURES
Barbarian
Level
Feature
3rd
Ancestral
Protectors
6th
Spirit
Shield
(2d8)
10th
Consult
the
Spirits,
Spirit
Shield
(3d8)
14th
Vengeful
Ancestors,
Spirit
Shield
(4d8)
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ANGESTRAL
PROTECTORS
Starting
when
you
choose
this
path
at
3rd
level,
spectral
warriors
appear
when
you
enter
your
rage.
While
you’re
raging,
the
first
creature
you
hit
with
an
attack
on
your
turn
becomes
the
target
of
the
warriors,
which
hinder
its
attacks.
Until
the
start
of
your
next
turn,
that
target
has
disadvantage
on
any
attack
roll
that
isn’t
against
you,
and
when
the
target
hits
a
creature
other
than
you
with
an
attack,
that
creature
has
resistance
to
the
dam—
age
dealt
by
the
attack.
The
effect
on
the
target
ends
early
ifyour
rage
ends.
SPIRIT
SHIELD
Beginning
at
6th
level,
the
guardian
spirits
that
aid
you
can
provide
supernatural
protection
to
those
you
de—
fend.
If
you
are
raging
and
another
creature
you
can
see
within
30
feet
of
you
takes
damage,
you
can
use
your
reaction
to
reduce
that
damage
by
2d6.
When
you
reach
certain
levels
in
this
class.
you
can
reduce
the
damage
by
more:
by
3d6
at
10th
level
and
by
4d6
at
14th
level.
CONSULT
THE
SPIRITS
At
10th
level,
you
gain
the
ability
to
consult
with
your
ancestral
spirits.
When
you
do
so,
you
cast
the
augury
or
clairvoyance
spell,
without
using
a
spell
slot
or
material
components.
Rather
than
creating
a
spherical
sensor,
this
use
of
clairvoyance
invisibly
summons
one
Of
your
ancestral
spirits
to
the
chosen
location.
Wisdom
is
your
spellcasting
ability
for
these
spells.
After
you
cast
either
spell
in
this
way,
you
can’t
use
this
feature
again
until
you
finish
a
short
or
long
rest.
VENOEFUL
ANOESTORS
At
14th
level,
your
ancestral
spirits
grow
powerful
enough
to
retaliate.
When
you
use
your
Spirit
Shield
to
reduce
the
damage
of
an
attack,
the
attacker
takes
an
amount
of
force
damage
equal
to
the
damage
that
your
Spirit
Shield
prevents.
PATH
OF
THE
STORM
HERALD
All
barbarians
harbor
a
fury
within.
Their
rage
grants
them
superior
strength,
durability,
and
speed.
Barbar—
ians
who
follow
the
Path
of
the
Storm
Herald
learn
to
transform
that
rage
into
a
mantle
of
primal
magic,
which
swirls
around
them.
When
in
a
fury,
a
barbarian
ofthis
path
taps
into
the
forces
of
nature
to
create
pow-
erful
magical
effects.
Storm
heralds
are
typically
elite
champions
who
train
alongside
druids,
rangers,
and
others
sworn
to
protect
nature.
Other
storm
heralds
hone
their
craft
in
lodges
in
regions
wracked
by
storms,
in
the
frozen
reaches
at
the
world’s
end,
or
deep
in
the
hottest
deserts.
PATH
OF
THE
STORM
HERALD
FEATURES
Barbarian
Level
Feature
3rd
Storm
Aura
6th
Storm
Soul
10th
Shielding
Storm
14th
Raging
Storm
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a.
I
STORM
AURA
Starting
at
3rd
level,
you
emanate
a
stormy,
magical
aura
while
you
rage.
The
aura
extends
10
feet
from
you
in
every
direction,
but
not
through
total
cover.
Your
aura
has
an
effect
that
activates
when
you
enter
your
rage,
and
you
can
activate
the
effect
again
on
each
of
your
turns
as
a
bonus
action.
Choose
desert,
sea,
or
tundra.
Your
aura’s
effect
depends
on
that
chosen
envi-
ronment,
as
detailed
below.
You
can
change
your
envi-
ronment
choice
whenever
you
gain
a
level
in
this
class.
lfyour
aura's
effects
require
a
saving
throw,
the
DC
equals
8
+
your
proficiency
bonus
+
your
Constitu-
tion
modifier.
Desert.
When
this
effect
is
activated,
all
other
crea—
tures
in
your
aura
take
2
fire
damage
each.
The
damage
increases
when
you
reach
certain
levels
in
this
class,
in—
creasing
to
3
at
5th
level,
4
at
10th
level,
5
at
15th
level,
and
6
at
20th
level.
Sea.
When
this
effect
is
activated,
you
can
choose
one
other
creature
you
can
see
in
your
aura.
The
target
must
make
a
Dexterity
saving
throw.
The
target
takes
1d6
lightning
damage
on
a
failed
save,
or
half
as
much
dam-
age
on
a
successful
one.
The
damage
increases
when
you
reach
certain
levels
in
this
class,
increasing
to
2d6
at
10th
level,
3d6
at
15th
level,
and
4d6
at
20th
level.
Tundra.
When
this
effect
is
activated,
each
creature
of
your
choice
in
your
aura
gains
2
temporary
hit
points,
as
icy
spirits
inure
it
to
suffering.
The
temporary
hit
points
increase
when
you
reach
certain
levels
in
this
class,
in-
creasing
to
3
at
5th
level,
4
at
10th
level,
5
at
15th
level,
and
6
at
20th
level.
STORM
SOUL
At
6th
level,
the
storm
grants
you
benefits
even
when
your
aura
isn’t
active.
The
benefits
are
based
on
the
en—
vironment
you
chose
for
your
Storm
Aura.
Desert.
You
gain
resistance
to
fire
damage,
and
you
don’t
suffer
the
effects
of
extreme
heat,
as
described
in
the
Dungeon
Master’s
Guide.
Moreover,
as
an
action,
you
can
touch
a
flammable
object
that
isn’t
being
worn
or
carried
by
anyone
else
and
set
it
on
fire.
See.
You
gain
resistance
to
lightning
damage,
and
you
can
breathe
underwater.
You
also
gain
a
swimming
speed
of
30
feet.
Tundra.
You
gain
resistance
to
cold
damage,
and
you
don’t
suffer
the
effects
of
extreme
cold,
as
described
in
the
Dungeon
Master’s
Guide.
Moreover,
as
an
action,
you
can
touch
water
and
turn
a
5-foot
cube
Of
it
into
ice,
which
melts
after
1
minute.
This
action
fails
if
a
creature
is
in
the
cube.
SHIELDING
STORM
At
10th
level,
you
learn
to
use
your
mastery
of
the
storm
to
protect
others.
Each
creature
of
your
choice
has
the
damage
resistance
you
gained
from
the
Storm
Soul
fea
ture
while
the
creature
is
in
your
Storm
Aura.
*
RAGING
STORM
At
14th
level,
the
power
of
the
storm
you
channel
grows
mightier,
lashing
out
at
your
foes.
The
effect
is
based
on
the
environment
you
chose
for
your
Storm
Aura.
Desert.
Immediately
after
a
creature
in
your
aura
hits
you
with
an
attack,
you
can
use
your
reaction
to
force
that
creature
to
make
a
Dexterity
saving
throw.
On
a
failed
save,
the
creature
takes
fire
damage
equal
to
half
your
barbarian
level.
Sea.
When
you
hit
a
creature
in
your
aura
with
an
attack,
you
can
use
your
reaction
to
force
that
creature
to
make
a
Strength
saving
throw.
On
a
failed
save,
the
creature
is
knocked
prone,
as
if
struck
by
a
wave.
Tundra.
Whenever
the
effect
of
your
Storm
Aura
is
ac-
tivated,
you
can
choose
one
creature
you
can
see
in
the
aura.
That
creature
must
succeed
on
a
Strength
saving
throw,
or
its
speed
is
reduced
to
0
until
the
start
of
your
next
turn,
as
magical
frost
covers
it.
PATH
OF
THE
ZEALOT
Some
deities
inspire
their
followers
to
pitch
themselves
into
a
ferocious
battle
fury.
These
barbarians
are
zeal-
ots—warriors
who
channel
their
rage
into
powerful
disn
plays
of
divine
power.
A
variety
of
gods
across
the
worlds
of
D&D
inspire
their
followers
to
embrace
this
path.
Tempus
from
the
Forgotten
Realms
and
Hextor
and
Erythnul
of
Grey-
hawk
are
all
prime
examples.
In
general,
the
gods
who
inspire
zealots
are
deities
of
combat,
destruction,
and
violence.
Not
all
are
evil,
but
few
are
good.
PATH
or
THE
ZEALOT
FEATURES
Barbarian
Level
Feature
3rd
Divine
Fury,
Warrior
ofthe
Gods
6th
Fanatical
Focus
10th
Zealous
Presence
14th
Rage
beyond
Death
DIVINE
F
U
RY
Starting
when
you
choose
this
path
at
3rd
level,
you
can
channel
divine
fury
into
your
weapon
strikes.
While
you’re
raging,
the
first
creature
you
hit
on
each
of
your
turns
with
a
weapon
attack
takes
extra
damage
equal
to
M6
+
half
your
barbarian
level.
The
extra
damage
is
necrotic
or
radiant;
you
choose
the
type
of
damage
when
you
gain
this
feature.
WARRIOR
OF
THE
GODS
At
3rd
level,
your
soul
is
marked
for
endless
battle.
If
a
spell,
such
as
raise
dead,
has
the
sole
effect
of
restoring
you
to
life
(but
not
uncleath),
the
caster
doesn’t
need
ma-
terial
components
to
cast
the
spell
on
you.
FANATICAL
FOCUS
Starting
at
6th
level,
the
divine
power
that
fuels
your
rage
can
protect
you.
If
you
fail
a
saving
throw
while
you’re
raging,
you
can
reroll
it,
and
you
must
use
the
new
roll.
You
can
use
this
ability
only
once
per
rage.
ZEALOUS
PRESENCE
At
10th
level,
you
learn
to
channel
divine
power
to
in-
spire
zealotry
in
others.
As
a
bonus
action,
you
unleash
a
battle
cry
infused
with
divine
energy.
Up
to
ten
other
creatures
of
your
choice
within
60
feet
of
you
that
can
hear
you
gain
advantage
on
attack
rolls
and
saving
throws
until
the
start
of
your
next
turn.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
RAGE
BEYOND
DEATH
Beginning
at
14th
level,
the
divine
power
that
fuels
your
rage
allows
you
to
shrug
off
fatal
blows.
While
you’re
raging,
having
0
hit
points
doesn’t
knock
you
unconscious.
You
still
must
make
death
saving
throws,
and
you
suffer
the
normal
effects
of
taking
damage
while
at
0
hit
points.
However,
if
you
would
die
due
to
failing
death
saving
throws,
you
don"t
die
until
your
rage
ends,
and
you
die
then
only
if
you
still
have
0
hit
points.
MUSIC
13
THE
FRUIT
OF
THE
DIVINE
TREE
THAT
VIBRATES
with
the
Words
of
Creation.
But
the
question
i
aslryou
is.
can
a
bard
go
to
the
root
of
this
tree?
Can
one
tap
into
the
source
ofthot
power?Ah.
then
what
manner
of
music
they
would
bring
to
this
world!
—F1etcher
Danairia,
master
bard
Bards
bring
levity
during
grave
times;
they
impart
wis-
dom
to
offset
ignorance;
and
they
make
the
ridiculous
seem
sublime.
Bards
are
preservers
of
ancient
history,
their
songs
and
tales
perpetuating
the
memory
of
great
events
down
through
time—knowledge
so
important
that
it
is
memorized
and
passed
along
as
oral
history,
to
survive
even
when
no
written
record
remains.
It
is
also
the
bard’s
role
to
chronicle
smaller
and
more
contemporary
events—the
stories
of
today’s
heroes.
including
their
feats
of
valor
as
well
as
their
less
than
impressive
failures.
Of
course,
the
world
has
many
people
who
can
carry
a
tune
or
tell
a
good
story,
and
there’s
much
more
to
any
adventuring
bard
than
a
glib
tongue
and
a
melodious
voice.
Yet
what
truly
sets
bards
apart
from
others—and
from
one
another—are
the
style
and
substance
of
their
performances.
To
grab
and
hold
the
attention
of
an
audience,
bards
are
typically
flamboyant
and
outgoing
when
they
per-
form.
The
most
famous
of
them
are
essentially
the
D&D
world’s
equivalent
of
pop
stars.
If
you’re
playing
a
bard,
consider
using
one
of
your
favorite
musicians
as
a
role
model
for
your
character.
You
can
add
some
unique
aspects
to
your
bard
charac-
ter
by
considering
the
suggestions
that
follow.
DEFINING
WORK
Every
successful
bard
is
renowned
for
at
least
one
piece
of
performance
art,
typically
a
song
or
a
poem
that
is
popular
with
everyone
who
hears
it.
These
perfor-
mances
are
spoken
about
for
years
by
those
who
View
them,
and
some
spectators
have
had
their
lives
forever
changed
because
of
the
experience.
If
your
character
isjust
starting
out,
your
ultimate
de-
fining
work
is
likely
in
the
future.
But
in
order
to
make
any
sort
of
living
at
your
profession,
chances
are
you
already
have
a
piece
or
two
in
your
repertoire
that
have
proven
to
be
audience
pleasers.
DEFINING
WORKS
d6
Defining
Work
l
“The
Three
Flambinis,”
a
ribald
song
concerning
;
mistaken
identities
and
unfettered
desire
*
2
“Walt:
ofthe
Myconids,”
an
upbeat
tune
that
chil-
l
dren
in
particular
enjoy
_
3
”Asmodeus's
Golden
Arse,"
a
dramatic
poem
i
you
claim
was
inspired
by
your
personal
visit
to
I
Avernus
-
4
“The
Pirates
of
Luskan,”
your
firsthand
account
of
being
kidnapped
by
sea
reavers
as
a
child
5
"A
Hoop,
Two
Pigeons,
and
a
Hell
Hound,”
a
sub-
tle
parody
ofan
incompetent
noble
6
“A
Fool
in
the
Abyss,"
a
comedic
poem
about
a
jester's
travels
among
demons
INSTRUMENT
In
a
bard’s
quest
for
the
ultimate
performance
and
the
highest
acclaim,
one's
instrument
is
at
least
as
import-
,
ant
as
one’s
vocal
ability.
The
instrument’s
quality
of
manufacture
is
a
critical
factor,
of
course;
the
best
ones
make
the
best
music,
and
some
bards
are
continually
on
the
lookout
for
an
improvement.
Perhaps
just
as
im—
portant,
though,
is
the
instrument’s
own
entertainment
value;
those
that
are
bizarrely
constructed.
or
made
of
exotic
materials
are
likely
to
leave
a
lasting
impression
on
an
audience.
You
might
have
an
“off
the
rack”
instrument,
perhaps
because
it’s
all
you
can
afford
right
now.
Or,
if
your
first
instrument
was
gifted
to
you,
it
might
be
of
a
more
elaborate
sort.
Are
you
satisfied
with
the
instrument
you
have,
or
do
you
aspire
to
replace
it
with
something
truly
distinctive?
INSTRUMENTS
d6
Instrument
l
A
masterfully
crafted
halfling
fiddle
2
A
mithral
horn
made
by
elves
3
A
zither
made
with
drow
spider
silk
4
An
orcish
drum
5
A
wooden
bullywug
croak
box
6
A
tinker’s
harp
ofgnomish
design
EMBARRASSMENT
Almost
every
bard
has
suffered
at
least
one
bad
experi-
ence
in
front
of
an
audience,
and
chances
are
you’re
no
exception.
No
one
becomes
famous
right
away,
after
all;
perhaps
you
had
a
few
small
difficulties
early
in
your
ca—
tear,
or
maybe
it
took
you
a
while
to
restore
your
reputa—
tion
after
one
agonizing
night
when
the
fates
conspired
to
bring
about
your
theatrical
ruin.
'
it
t
Music
is
siciA.
Walk.
\
qnsnit
W‘L-‘I
wthdh,
Mu:
L35
t
l
PLG‘W
or:
wane
Mo,
K
we:
riSl/ilc
lei/u
{in
wt.
.
UH“.
w
i
he
0
Jar
all,
in
Mmilc
is
slcotcilil.
@UHL
\
wow-sic
we
a,
u»
ml
can
\
Chang!
ww‘
winch
613611“.
13:1
The
ways
that
a
performance
can
go
wrong
are
as
varied
as
the
fish
in
the
sea.
No
matter
what
sort
of
disaster
might
occur,
however,
a
bard
has
the
courage
and
the
confidence
to
rebound
from
it—either
pressing
on
with
the
show
(if
possible)
or
promising
to
come
back
tomorrow
with
a
new
performance
that’s
guaranteed
to
please.
EM
BARRASSM
ENTS
d6
Embarrassment
T
The
time
when
your
comedic
song,
“Big
Tom's
Hijinks”—which,
by
the
way,
you
thought
was
bril-
liant—did
not
go
over
well
with
Big
Tom
2
The
matinee
performance
when
a
circus's
owlbear
got
loose
and
terrorized
the
crowd
3
When
your
opening
song
was
your
enthusiastic
but
universally
hated
rendition
of
“Song
ofthe
Froghemoth”
4
The
first
and
last
public
performance
of
“Mirt,
Man
about
Town”
5
The
time
on
stage
when
your
wig
caught
fire
and
you
threw
it
down——which
set
fire
to
the
stage
6
When
you
sat
on
your
lute
by
mistake
during
the
final
stanza
of
“Starlight
Serenade”
A
BARD’S
MUSE
Naturally,
every
bard
has
a
repertoire
of
songs
and
sto-
ries.
Some
bards
are
generalists
who
can
draw
from
a
wide
range
of
topics
for
each
performance,
and
who
take
pride
in
their
versatility.
Others
adopt
a
more
per-
sonal
approach
to
their
art,
driven
by
their
attachment
to
or
GLAMDUR,
Ewe-nos,
m-io
WHisFEa-s
a
muse—a
particular
concept
that
inspires
much
of
what
those
bards
do
in
front
of
an
audience.
A
bard
who
follows
a
muse
generally
does
so
to
gain
a
deeper
understanding
of
what
that
muse
represents
and
how
to
best
convey
that
understanding
to
others
through
performance.
Ifyour
bard
character
has
a
muse,
it
could
be
one
of
the
three
described
here,
or
one
of
your
own
devising.
Nature.
You
feel
a
kinship
with
the
natural
world,
and
its
beauty
and
mystery
inspire
you.
For
you,
a
tree
is
deeply
symbolic,
its
roots
delving
into
the
dark
unknown
to
draw
forth
the
power
of
the
earth,
while
its
branches
reach
toward
the
sun
to
nourish
their
flowers
and
fruit.
Nature
is
the
ancient
witness
who
has
seen
every
kingdom
rise
and
fall,
even
those
whose
names
have
been
forgotten
and
wait
to
be
rediscovered.
The
gods
of
nature
share
their
secrets
with
druids
and
sages,
open—
ing
their
hearts
and
minds
to
new
ways
of
seeing,
and
as
with
those
individuals,
you
find
that
your
creativity
blossoms
while‘
you
wander
in
an
open
field
of
waving
grass
or
walk
in
silent
reverence
through
a
grove
of
an—
cient
oaks.
Love.
You
are
on
a
quest
to
identify
the
essence
of
true
love.
Though
you
do
not
disdain
the
superficial
love
of
flesh
and
form,
the
deeper
form
of
love
that
can
inspire
thousands
or
bring
joy
to
one’s
every
moment
is
what
you
are
interested
in.
Love
of
this
sort
takes
on
many
forms,
and
you
can
see
its
presence
everywhere—
from
the
sparkling
of
a
beautiful
gem
to
the
song
of
a
simple
fisher
thanking
the
sea
for
its
bounty.
You
are
on
the
trail.
of
love,
that
most
precious
and
mysterious
of
emotions,
and
your
search
fills
your
stories
and
your
songs
with
vitality
and
passion.
._.
__. '
-..-
-____.__
_‘—:-
..-...‘.i
fi—
'——--a——--T
-
u—u
.
.
..""'.'
iiiisxi‘i'i-"Ri
Conflict.
Drama
embodies
conflict,
and
the
best
stories
have
conflict
as
a
key
element.
From
the
morn—
ing-after
tale
of
a
tavern
brawl
to
the
saga
of
an
epic
battle,
from
a
lover’s
spat
to
a
rift
between
powerful
dynasties,
conflict
is
what
inspires
tale-tellers
like
you
to
create
your
best
work.
Conflict
can
bring
out
the
best
in
some
people,
causing
their
heroic
nature
to
shine
forth
and
transform
the
world,
but
it
can
cause
others
to
grav—
itate
toward
darkness
and
fall
under
the
sway
of
evil.
You
strive
to
experience
or
witness
all
forms
of
conflict,
great
and
small,
so
as
to
study
this
eternal
aspect
of
life
and
immortalize
it
in
your
words
and
music.
BARD
COLLEGES
At
3rd
level,
a
hard
gains
the
Bard
College
feature.
The
following
options
are
available
to
a
bard,
in
addition
to
those
offered
in
the
Player’s
Handbook:
the
College
of
Glamour,
the
College.
of
Swords,
and
the
College
of
Whispers.
COLLEGE
OF
GLAMOUR
The
College
of
Glamour
is
the
home
Of
bards
who
mas—
tered
their
craft
in
the
vibrant
realm
of
the
Feywild
or
under
the
tutelage
Of
someone
who
dwelled
there.
Tu-
tored
by
satyrs,
eladrin,
and
other
fey,
these
bards
learn
to
use
their
magic
to
delight
and
captivate
others.
The
bards
of
this
college
are
regarded
with
a
mixture
of
awe
and
fear.
Their
performances
are
the
stuff
Of
leg-
end.
These
bards
are
so
eloquent
that
a
speech
or
song
that
one
of
them
performs
can
cause
captors
tO
release
the
bard
unharmed
and
can
lull
a
furious
dragon
into
complacency.
The
same
magic
that
allows
them
to
quell
beasts
can
also
bend
minds.
Villainous
bards
Of
this
college
can
leech
Off
a
community
for
weeks,
misusing
their
magic
to
turn
their
hosts
into
thralls.
Heroic
bards
of
this
college
instead
use
this
power
to
gladden
the
downtrodden
and
undermine
oppressors.
COLLEGE
or
GLAMOUR
FEATURES
Bard
Level
Feature
3rd
Mantle
of
Inspiration,
Enthralling
Performance
6th
Mantle
of
Majesty
14th
Unbreakable
Majesty
MANTLE
OF
INSPIRATION
When
you
join
the
College
of
Glamour
at
3rd
level,
you
gain
the
ability
to
weave
a
song
of
fey
magic
that
imbues
your
allies
with
vigor
and
speed.
As
a
bonus
action,
you
can
expend
one
use
of
your
Bardic
Inspiration
to
grant
yourself
a
wondrous
appear-
ance.
When
you
do
so,
choose
a
number
of
creatures
you
can
see
and
that
can
see
you
within
60
feet
of
you,
up
to
a
number
equal
to
your
Charisma
modifier
(mini
mum
of
one).
Each
of
them
gains
5
temporary
hit
points.
When
a
creature
gains
these
temporary
hit
points,
it
can
immediately
use
its
reaction
to
move
up
to
its
speed,
without
provoking
opportunity
attacks.
The
number
of
temporary
hit
points
inoreases
when
you
reach
certain
levels
in
this
class,
increasing
to
8
at
5th
level,
11
at
10th
level,
and
14
at
15th
level.
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ENTHRALLING
PERFORMANCE
Starting
at
3rd
level,
you
can
charge
your
performance
with
seductive,
fey
magic.
If
you
perform
for
at
least
1
minute,
you
can
attempt
to
inspire
wonder
in
your
audience
by
singing,
reciting
a
poem,
or
dancing.
At
the
end
of
the
performance,
choose
a
number
of
humanoids
within
60
feet
of
you
who
watched
and
listened
to
all
of
it,
up
to
a
number
equal
tO
your
Charisma
modifier
(minimum
of
one).
Each
target
must
succeed
on
a
Wisdom
saving
throw
against
your
spell
save
DC
or
be
charmed
by
you.
While
charmed
in
this
way,
the
target
idolizes
you,
it
speaks
glowingly
Of
you
to
anyone
who
talks
to
it,
and
it
hinders
anyone
who
Opposes
you,
although
it
avoids
violence
unless
it
was
already
inclined
to
fight
on
your
behalf.
This
effect
ends
on
a
target
after
1
hour,
if
it
takes
any
damage,
if
you
attack
it,
or
if
it
witnesses
you
attacking
or
damaging
any
of
its
allies.
If
a
target
succeeds
on
its
saving
throw,
the
target
has
nO
hint
that
you
tried
tO
charm
it.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
MANTLE
OF
MAJESTY
At
6th
level,
you
gain
the
ability
to
cloak
yourself
in
a
fey
magic
that
makes
Others
want
to
serve
you.
As
a
bonus
action,
you
cast
command,
without
expending
a
spell
slot,
and
you
take
on
an
appearance
of
unearthly
beauty
for
1
minute
or
until
your
concentration
ends
(as
if
you
were
concentrating
on
a
spell).
During
this
time,
you
can
cast
command
as
a
bonus
action
on
each
of
your
turns,
without
expending
a
spell
slot.
Any
creature
charmed
by
you
automatically
fails
its
saving
throw
against
the
command
you
cast
with
this
feature.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
UNBREAKABLE
MAJESTY
At
14th
level,
your
appearance
permanently
gains
an
otherworldly
aspect
that
makes
you
look
more
lovely
and
fierce.
In
addition,
as
a
bonus
action,
you
can
assume
a
mag-
ically
majestic
presence
for
1
minute
or
until
you
are
incapacitated.
For
the
duration,
whenever
any
creature
tries
to
attack
you
for
the
first
time
on
a
turn,
the
at—
tacker
must
make
a
Charisma
saving
throw
against
your
spell
save
DC.
On
a
failed
save,
it
can’t
attack
you
on
this
turn,
and
it
must
choose
a
new
target
for
its
attack
or
the
attack
is
wasted.
On
a
successful
save,
it
can
attack
you
i
_._
.
_
__._._———.—.-_-.~
on
this
turn,
but
it
has
disadvantage
on
any
saving
throw
it
makes
against
your
spells
on
your
next
turn.
Once
you
assume
this
majestic
presence,
you
can’t
do
so
again
until
you
finish
a
short
or
long
rest.
COLLEGE
OF
SWORDS
Bards
of
the
College
of
Swords
are
called
blades,
and
they
entertain
through
daring
feats
of
weapon
prowess.
Blades
perform
stunts
such
as
sword
swallowing,
knife
throwing
and
juggling,
and
mock
combats.
Though
they
use
their
weapons
to
entertain,
they
are
also
highly
trained
and
skilled
warriors
in
their
own
right.
Their
talent
with
weapons
inspires
many
blades
to
lead
double
lives.
One
blade
might
use
a
circus
troupe
as
cover
for
nefarious
deeds
such
as
assassination,
rob-
bery,
and
blackmail.
Other
blades
strike
at
the
wicked,
bringingjustice
to
bear
against
the
cruel
and
powerful.
Most
troupes
are
happy
to
accept
a
blade’s
talent
for
the
excitement
it
adds
to
a
performance,
but
few
entertain-
ers
fully
trust
a
blade
in
their
ranks.
Blades
who
abandon
their
lives
as
entertainers
have
often
run
into
trouble
that
makes
maintaining
their
secret
activities
impossible.
A
blade
caught
stealing
or
engaging
in
vigilante
justice
is
too
great
a
liability
for
most
troupes.
With
their
weapon
skills
and
magic,
these
blades
either
take
up
work
as
enforcers
for
thieves’
guilds
or
strike
out
on
their
own
as
adventurers.
COLLEGE
OF
Swonos
FEATURES
Bard
Level
Feature
3rd
Bonus
Proficiencies,
Fighting
Style,
Blade
Flourish
6th
Extra
Attack
14th
Master's
Flourish
BONUS
PROFICIENGIES
When
you
join
the
College
of
Swords
at
3rd
level,
you
gain
proficiency
with
medium
armor
and
the
scimitar.
If
you‘re
proficient
with
a
simple
or
martial
melee
weapon,
you
can
use
it
as
a
spellcasting
focus
for
your
hard
spells.
FIGHTING
STYLE
At
3rd
level,
you
adopt
a
style
of
fighting
as
your
spe—
cialty.
Choose
one
of
the
following
options.
You
can’t
take
a
Fighting
Style
option
more
than
once,
even
if
something
in
the
game
lets
you
choose
again.
Dueling.
When
you
are
wielding
a
melee
weapon
in
one
hand
and
no
other
weapons,
you
gain
a
+2
bonus
to
damage
rolls
with
that
weapon.
Two-Weapon
Fighting.
When
you
engage
in
two‘
weapon
fighting,
you
can
add
your
ability
modifier
to
the
damage
of
the
second
attack.
BLADE
FLOURISH
At
3rd
level,
you
learn
to
perform
impressive
displays
of
martial
prowess
and
speed.
Whenever
you
take
the
Attack
action
on
your
turn,
your
walking
speed
increases
by
10
feet
until
the
end
of
the
turn,
and
if
a
weapon
attack
that
you
make
as
part
of
this
action
hits
a
creature,
you
can
use
one
of
the
follow-
ing
Blade
Flourish
options
of
your
choice.
You
can
use
only
one
Blade
Flourish
option
per
turn.
Defensive
Flourish.
You
can
expend
one
use
of
your
Bardic
Inspiration
to
cause
the
weapon
to
deal
extra
damage
to
the
target
you
hit.
The
damage
equals
the
number
you
roll
on
the
Bardic
Inspiration
die.
You
also
add
the
number
rolled
to
your
AC
until
the
start
of
your
next
turn.
Slashing
Flourish.
You
can
expend
one
use
of
your
Bardic
Inspiration
to
cause
the
weapon
to
deal
extra
damage
to
the
target
you
hit
and
to
any
other
creature
of
your
choice
that
you
can
see
within
5
feet
ofyou.
The
damage
equalsthe
number
you
roll
on
the
Bardic
Inspi—
ration
die.
Mobile
Flourish.
You
can
expend
one
use
of
your
Bar—
dic
InSpiration
to
cause
the
weapon
to
deal
extra
dam—
age
to
the
target
you
hit.
The
damage
equals
the
number
you
roll
on
the
Bardic
Inspiration
die.
You
can
also
push
the
target
up
to
5
feet
away
from
you,
plus
a
number
of
feet
equal
to
the
number
you
roll
on
that
die.
You
can
then
immediately
use
your
reaction
to
move
up
to
your
walking
speed
to
an
unoccupied
space
within
5
feet
of
the
target.
EXTRA
ATTACK
Starting
at
6th
level,
you
can
attack
twice,
instead
of
once,
whenever
you
take
the
Attack
action
on
your
turn.
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MASTER’S
FLOURISH
Starting
at
14th
level,
whenever
you
use
a
Blade
Flour-
ish
option,
you
can
roll
a
d6
and
use
it
instead
of
expend—
ing
a
Bardic
Inspiration
die.
COLLEGE
or
WHISPERS
Most
folk
are
happy
to
welcome
a
bard
into
their
midst.
Bards
of
the
College
of
Whispers
use
this
to
their
ad-
vantage.
They
appear
to
be
like
other
bards,
sharing
news,
singing
songs,
and
telling
tales
to
the
audiences
they
gather.
In
truth,
the
College
of
Whispers
teaches
its
students
that
they
are
wolves
among
sheep.
These
bards
use
their
knowledge
and
magic
to
uncover
secrets
and
turn
them
against
others
through
extortion
and
threats.
Many
other
bards
hate
the
College
of
Whispers,
viewing
it
as
a
parasite
that
uses
a
bard’s
reputation
to
acquire
wealth
and
power.
For
this
reason,
members
of
this
college
rarely
reveal
their
true
nature.
They
typ-
ically
claim
to
follow
some
other
college,
or
they
keep
their
actual
calling
secret
in
order
to
infiltrate
and
ex-
ploit
royal
courts
and
other
settings
of
power.
COLLEGE
OF
WHISPERS
FEATURES
Bard
Level
Feature
3rd
Psychic
Blades,
Words
ofTerror
6th
Mantle
ofWhispers
14th
Shadow
Lore
PSYCHIC
BLADES
When
you
join
the
College
of
Whispers
at
3rd
level,
you
gain
the
ability
to
make
your
weapon
attacks
magically
toxic
to
a
creature’s
mind.
When
you
hit
a
creature
with
a
weapon
attack,
you
can
expend
one
use
of
your
Bardic
Inspiration
to
deal
an
extra
2d6
psychic
damage
to
that
target.
You
can
do
so
only
once
per
round
on
your
turn.
The
psychic
damage
increases
when
you
reach
cer-
tain
levels
in
this
class,
increasing
to
3d6
at
5th
level,
5d6
at
10th
level,
and
8d6
at
15th
level.
WORDS
OF
TERROR
At
3rd
level,
you
learn
to
infuse
innocent-seeming
words
with
an
insidious
magic
that
can
inspire
terror.
If
you
speak
to
a
humanoid
alone
for
at
least
1
minute,
you
can
attempt
to
seed
paranoia
in
its
mind.
At
the
end
of
the
conversation,
the
target
must
succeed
on
a
Wisdom
saving
throw
against
your
spell
save
DC
or
be
frightened
of
you
or
another
creature
of
your
choice.
The
target
is
frightened
in
this
way
for
1
hour,
until
it
is
at—
tacked
or
damaged,
or
until
it
witnesses
its
allies
being
attacked
or
damaged.
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is}:
If
the
target
succeeds
on
its
saving
throw,
the
target
has
no
hint
that
you
tried
to
frighten
it.
Once
you
use
this
feature,
you
can't
use
it
again
until
you
finish
a
short
or
long
rest.
MANTLE
or
WHISPERS
At
6th
level,
you
gain
the
ability
to
adopt
a
humanoid’s
persona.
When
a
humanoid
dies
within
30
feet
of
you,
you
can
magically
capture
its
shadow
using
your
reac—
tion.
You
retain
this
shadow
until
you
use
it
or
you
finish
a
long
rest.
You
can
use
the
shadow
as
an
action.
When
you
do
so,
it
vanishes,
magically
transforming
into
a
disguise
that
appears
on
you.
You
now
look
like
the
dead
person,
but
healthy
and
alive.
This
disguise
lasts
for
1
hour
or
until
you
end
it
as
a
bonus
action.
While
you’re
in
the
disguise,
you
gain
access
to
all
information
that
the
humanoid
would
freely
share
with
a
casual
acquaintance.
Such
information
includes
gen-
eral
details
on
its
background
and
personal
life,
but
doesn’t
include
secrets.
The
information
is
enough
that
you
can
pass
yourself
off
as
the
person
by
drawing
on
its
memories.
Another
creature
can
see
through
this
disguise
by
succeeding
on
a
Wisdom
(Insight)
check
contested
by
your
Charisma
(Deception)
check.
You
gain
a
+5
bonus
to
your
check.
Once
you
capture
a
shadow
with
this
feature,
you
can’t
capture
another
one
with
it
until
you
finish
a
short
or
long
rest.
SHADOW
LORE
At
14th
level,
you
gain
the
ability
to
weave
dark
magic
into
your
words
and
tap
into
a
creature’s
deepest
fears.
As
an
action,
you
magically
whisper
a
phrase
that
only
one
creature
of
your
choice
within
30
feet
of
you
can
hear.
The
target
must
make
a
Wisdom
saving
throw
against
your
spell
save
DC.
It
automatically
succeeds
if
it
doesn’t
share
a
language
with
you
or
if
it
can’t
hear
you.
On
a
successful
saving
throw,
your
whisper
sounds
like
unintelligible
mumbling
and
has
no
effect.
On
a
failed
saving
throw,
the
target
is
charmed
by
you
for
the
next
8
hours
or
until
you
or
your
allies
attack
it,
damage
it,
or
force
it
to
make
a
saving
throw.
It
inter-
prets
the
whispers
as
a
description
of
its
most
mortify—
ing
secret.
You
gain
no
knowledge
of
this
secret,
but
the
target
is
convinced
you
know
it.
The
charmed
creature
obeys
your
commands
for
fear
that
you
will
reveal
its
secret.
It
won’t
risk
its
life
for
you
or
fight
for
you,
unless
it
was
already
inclined
to
do
so.
It
grants
you
favors
and
gifts
it
would
offer
to
a
close
friend.
When
the
effect
ends,
the
creature
has
no
understand-
ing
of
why
it
held
you
in
such
fear.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
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CLERIG
To
BECOME
A
CLERIC
IS
TO
BECOME
A
MESSENGER
OF
the
gods.
Thepower
the
divine
offers
is
great.
but
it
always
comes
with
tremendous
responsibility.
——Riggby
the
patriarch
Almost
all
the
folk
in
the
world
who
revere
a
deity
live
their
lives
without
ever
being
directly
touched
by
a
di-
vine
being.
As
such,
they
can
never
know
what
it
feels
like
to
be
a
cleric—someone
who
is
not
only
a
devout
worshiper,
but
who
has
also
been
invested
with
a
mea-
sure
of
a
deity’s
power.
The
question
has
long
been
debated:
Does
a
mortal
become
a
cleric
as
a
consequence
of
deep
devotion
to
one's
deity,
thereby
attracting
the
god’s
favor?
Or
is
it
the
deity
who
sees
the
potential
in
a
person
and
calls
that
individual
into
service?
Ultimately,
perhaps,
the
answer
doesn’t
matter.
However
clerics
come
into
being,
the
world
needs
clerics
as
much
as
clerics
and
deities
need
each
other.
If
you’re
playing
a
cleric
character,
the
following
sec—
tions
offer
ways
to
add
some
detail
to
that
character’s
history
and
personality.
TEMPLE
Most
clerics
start
their
lives
of
service
as
priests
in
an
order,
then
later
realize
that
they
have
been
blessed
by
their
god
with
the
qualities
needed
to
become
a
cleric.
To
prepare
for
this
new
duty,
candidates
typically
re-
ceive
instruction
from
a
cleric
of
a
temple
or
another
place
of
study
devoted
to
their
deity.
Some
temples
are
cut
off
from
the
world
so
that
their
occupants
can
focus
on
devotions,
while
other
temples
open
their
doors
to
minister
to
and
heal
the
masses.
What
is
noteworthy
about
the
temple
you
studied
at?
TEMPLES
d6
Temple
1
Your
temple
is
said
to
be
the
oldest
surviving
struc-
ture
built
to
honor
your
god.
2
Acolytes
of
several
like—minded
deities
all
received
instruction
together
in
your
temple.
3
You
come
from
a
temple
famed
for
the
brewery
it
operates.
Some
say
you
smell
like
one
of
its
ales.
4
Your
temple
is
a
fortress
and
a
proving
ground
that
trains
warrior-priests.
5
Yourtemple
is
a
peaceful,
humble
place,
filled
with
vegetable
gardens
and
simple
priests.
6
You
served
in
a
temple
in
the
Outer
Planes.
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all
such.
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KEEPSAKE
Many
clerics
have
items
among
their
personal
gear
that
symbolize
their
faith,
remind
them
of
their
vows,
or
oth-
erwise
help
to
keep
them
on
their
chosen
paths.
Even
though
such
an
item
is
not
imbued
with
divine
power,
it
is
vitally
important
to
its
owner
because
of
what
it
represents.
KEEPSAKES
d6
Keepsake
l
The
finger
bone
ofa
saint
2
A
metal-bound
book
that
tells
how
to
hunt
and
de-
stroy
infernal
creatures
3
A
pig’s
whistle
that
reminds
you
ofyour
humble
and
beloved
mentor
A
braid
ofhair
woven
from
the
tail
ofa
unicorn
5
A
scroll
that
describes
how
best
to
rid
the
world
of
necromancers
6
A
runestone
said
to
be
blessed
by
your
god
SECRET
No
mortal
soul
is
entirely
free
of
second
thoughts
or
doubt.
Even
a
cleric
must
grapple
with
dark
desires
or
the
forbidden
attraction
of
turning
against
the
teachings
of
one’s
deity.
If
you
haven’t
considered
this
aspect
of
your
charac-
ter
yet,
see
the
table
entries
for
some
possibilities,
or
use
them
for
inspiration.
Your
deep,
dark
secret
might
involve
something
you
did
(or
are
doing),
or
it
could
be
rooted
in
the
way
you
feel
about
the
world
and
your
role
in
it.
SECRETS
d6
Secret
1
An
imp
offers
you
counsel.
You
try
to
ignore
the
creature,
but
sometimes
its
advice
is
helpful.
2
You
believe
that,
in
the
final
analysis,
the
gods
are
nothing
more
than
ultrapowerful
mortal
creatures.
3
You
acknowledge
the
power
ofthe
gods,
but
you
think
that
most
events
are
dictated
by
pure
chance.
4
Even
though
you
can
work
divine
magic,
you
have
never
truly
felt
the
presence
ofa
divine
essence
within
yourself.
5
You
are
plagued
by
nightmares
that
you
believe
are
sent
by
your
god
as
punishment
for
some
unknown
transgression.
6
In
times
ofdespair,
you
feel
that
you
are
but
a
play-
thing
ofthe
gods,
and
you
resent
their
remoteness.
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SERVING
A
PANTHEON,
PHILOSOPHY,
OR
FORCE
The
typical
cleric
is
an
ordained
servant
ofa
particular
god
and
chooses
a
Divine
Domain
associated
with
that
deity.
The
cleric’s
magic
flows
from
the
god
or
the
god's
sacred
realm,
and
often
the
cleric
bears
a
holy
symbol
that
rep-
resents
that
divinity.
Some
clerics,
especially
in
a
world
like
Eberron,
serve
a
whole
pantheon,
rather
than
a
single
deity.
In
certain
cam-
paigns,
a
cleric
might
instead
serve
a
cosmic
force,
such
as
life
or
death,
or
a
philosophy
or
concept,
such
as
love,
peace,
or
one
ofthe
nine
alignments.
Chapter
1
ofthe
Dungeon
Master’s
Guide
explores
options
like
these,
in
the
section
“Gods
oourWorld.”
Talk
with
your
DM
about
the
divine
options
available
in
your
campaign,
whether
they're
gods,
pantheons,
philos-
ophies,
or
cosmic
forces.
Whatever
being
or
thing
your
cleric
ends
up
serving,
choose
a
Divine
Domain
that
is
ap—
propriate
for
it,
and
ifit
doesn’t
have
a
holy
symbol,
work
with
your
DM
to
design
one.
The
clericTs
class
features
often
refer
to
your
deity.
lfyou
are
devoted
to
a
pantheon,
cosmic
force,
or
philosophy,
your
cleric
features
still work
for
you
as
written.
Think
of
the
references
to
a
god
as
references
to
the
divine
thing
you
serve
that
gives
you
your
magic.
DIVINE
DOMAINS
At
1st
level,
a
cleric
gains
the
Divine
Domain
feature.
The
following
domain
options
are
available
to
a
cleric,
in
addition
to
those
offered
in
the
Player’s
Handbook:
Forge
and
Grave.
“PW
FORGE
DOMAIN
=‘
The
gods
of
the
forge
are
patrons
of
artisans
who
work
with
metal,
from
a
humble
blacksmith
who
keeps
a
village
in
horseshoes
and
plow
blades
to
the
mighty
elf
artisan
whose
diamond-tipped
arrows
of
mithral
have
felled
demon
lords.
The
gods
of
the
forge
teach
that,
with
patience
and
hard
work,
even
the
most
intractable
metal
can
be
transformed
from
a
lump
of
ore
to
a
beau—
tifully
wrought
object.
Clerics
of
these
deities
search
for
objects
lost
to
the
forces
of
darkness,
liberate
mines
overrun
by
ores,
and
uncover
rare
and
wondrous
mate-
rials
necessary
to
create
potent
magic
items.
Followers
of
these
gods
take
great
pride
in
their
work,
and
they
are
willing
to
craft
and
use
heavy
armor
and
power-
ful
weapons
to
protect
them.
Deities
of
this
domain
include
Gond,
Reorx,
Onatar,
Moradin,
Hephaestus,
and
Goibhniu.
FORGE
DOMAIN
FEATURES
Cleric
Level
Feature
lst
Domain
Spells,
Bonus
Proficiencies,
Blessing
ofthe
Forge
2nd
Channel
Divinity:
Artisan's
Blessing
6th
Soul
ofthe
Forge
8th
Divine
Strike
(ld8)
14th
Divine
Strike
(2d3)
17th
Saint
of
Forge
and
Fire
DOMAIN
SPELLS
You
gain
domain
spells
at
the
cleric
levels
listed
in
the
Forge
Domain
Spells
table.
See
the
Divine
Domain
class
feature
for
how
domain
spells
work.
FORGE
DOMAIN
SPELLS
Cleric
Level
Spells
lst
identify,
searing
smite
3rd
heat
metal,
magic
weapon
5th
elementai
weapon,
protectianfrom
energy
7th
fabricate,
wall
affire
9th
animate
objects,
creation
BONUS
PROFICIENCIES
When
you
choose
this
domain
at
1st
level,
you
gain
pro-
ficiency
with
heavy
armor
and
smith’s
tools.
BLESSING
OF
THE
FORGE
At
1st
level,
you
gain
the
ability
to
imbue
magic
into
a
weapon
or
armor.
At
the
end
of
a
long
rest,
you
can
touch
one
nonmagical
object
that
is
a
suit
of
armor
or
a
simple
or
martial
weapon.
Until
the
end
of
your
next
long
rest
or
until
you
die,
the
object
becomes
a
magic
item,
granting
a
+1
bonus
to
AC
if
it’s
armor
or
a
+1
bo—
nus
to
attack
and
damage
rolls
if
it’s
a
weapon.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
CHANNEL
DIVINITY:
ARTISAN‘S
BLESSING
Starting
at
2nd
level,
you
can
use
your
Channel
Divinity
to
create
simple
items.
You
conduct
an
hour—long
ritual
that
crafts
a
nonmagi—
cal
item
that
must
include
some
metal:
a
simple
or
mar-
tial
weapon,
a
suit
of
armor,
ten
pieces
of
ammunition,
a
set
of
tools,
or
another
metal
Object
(see
chapter
5,
“Equipment,”
in
the
Player’s
Handbook
for
examples
of
these
items).
The
creation
is
completed
at
the
end
of
the
hour,
coalescing
in
an
unoccupied
space
of
your
choice
on
a
surface
within
5
feet
of
you.
The
thing
you
create
can
be
something
that
is
worth
no
more
than
100
gp.
As
part
of
this
ritual,
you
must
lay
out
metal,
which
can
include
coins,
with
a
value
equal
to
the
creation.
The
metal
irretrievably
coalesces
and
transforms
into
the
creation
at
the
ritual’s
end,
magi-
cally
forming
even
nonmetal
parts
of
the
creation.
The
ritual
can
create
a
duplicate
of
a
nonmagical
item
that
contains
metal,
such
as
a
key,
if
you
possess
the
original
during
the
ritual.
SOUL
OF
THE
FORGE
Starting
at
6th
level,
your
mastery
of
the
forge
grants
you
special
abilities:
-
You
gain
resistance
to
fire
damage.
-
While
wearing
heavy
armor,
you
gain
a
+1
bonus
to
AC.
DIVINE
STRIKE
At
8th
level,
you
gain
the
ability
to
infuse
your
weapon
strikes
with
the
fiery
power
of
the
forge.
Once
on
each
of
your
turns
when
you
hit
a
creature
with
a
weapon
attack,
you
can
cause
the
attack
to
deal
an
extra
1d8
fire
damage
to
the
target.
When
you
reach
14th
level,
the
ex-
tra
damage
increases
to
2d8.
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CLERIC
OF
THE
GRAVE
SAINT
OF
FORGE
AND
FIRE
At
17th
level,
your
blessed
affinity
with
fire
and
metal
becomes
more
powerful:
-
You
gain
immunity
to
fire
damage.
-
While
wearing
heavy
armor,
you
have
resistance
to
bludgeoning,
piercing,
and
slashing
damage
from
non-
magical
attacks.
GRAVE
DOMAIN
Gods
of
the
grave
watch
over
the
line
between
life
and
death.
To
these
deities,
death
and
the
afterlife
are
a
foundational
part
of
the
multiverse.
To
desecrate
the
peace
of
the
dead
is
an
abomination.
Deities
of
the
grave
include
Kelemvor,
Wee
jas,
the
ancestral
spirits
of
the
Undying
Court,
Hades,
Anubis,
and
Osiris.
Followers
of
these
deities
seek
to
put
wandering
spirits
to
rest,
destroy
the
undead,
and
ease
the
suffering
of
the
dying.
Their
magic
also
allows
them
to
stave
off
death
for
a
time.
particularly
for
a
person
who
still
has
some
great
work
to
accomplish
in
the
world.
This
is
a
delay
of
death,
not
a
denial
of
it,
for
death
will
eventually
get
its
due.
Nil
-“.
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H
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t:
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l
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it
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GRAVE
DOMAIN
FEATURES
Cleric
Level
lst
2nd
6th
8th
17th
Feature
Domain
Spells,
Circle
of
Mortality,
Eyes
ofthe
Grave
Channel
Divinity:
Path
to
the
Grave
Sentinel
at
Death’s
Door
Potent
Spellcasting
Keeper
of
Souls
DOMAIN
SPELLS
You
gain
domain
spells
at
the
cleric
levels
listed
in
the
Grave
Domain
Spells
table.
See
the
Divine
Domain
class
feature
for
how
domain
spells
work.
GRAVE
DOMAIN
SPELLS
Cleric
Level
lst
3rd
5th
?th
9th
Spells
banefalse
life
gentle
repose,
ray
ofenfeeblement
revlw'fy,
vemplrlt:
touch
blight,
death
ward
antllife
shell,
raise
dead
CIRCLE
OF
MORTALITY
At
1st
level,
you
gain
the
ability
to
manipulate
the
line
between
life
and
death.
When
you
would
normally
roll
one
or
more
dice
to
restore
hit
points
with
a
spell
to
a
creature
at
0
hit
points,
you
instead
use
the
highest
number
possible
for
each
die.
In
addition,
you
learn
the
spare
the
dying
cantrip,
which
doesn’t
count
against
the
number
of
cleric
can-
trips
you
know.
For
you,
it
has
a
range
of
30
feet,
and
you
can
cast
it
as
a
bonus
action.
EYES
OF
THE
GRAVE
At
lst
level,
you
gain
the
ability
to
occasionally
sense
the
presence
of
the
undead,
whose
existence
is
an
insult
to
the
natural
cycle
of
life.
As
an
action,
you
can
open
your
awareness
to
magically
detect
undead.
Until
the
end
of
your
next
turn,
you
know
the
location
of
any
undead
within
60
feet
of
you
that
isn’t
behind
total
cover
and
that
isn’t
protected
from
divination
magic.
This
sense
doesn’t
tell
you
anything
about
a
creature's
capabilities
or
identity.
You
can
use
this
feature
a
number
of
times
equal
to
your
Wisdom
modifier
(minimum
Of
once).
You
regain
all
expended
uses
when
you
finish
a
long
rest.
CHANNEL
DIVINITY:
PATH
TO
THE
GRAVE
Starting
at
2nd
level,
you
can
use
your
Channel
Divinity
to
mark
another
creature’s
life
force
for
termination.
As
an
action,
you
choose
one
creature
you
can
see
within
30
feet
of
you,
cursing
it
until
the
end
Of
your
next
turn.
The
next
time
you
or
an
ally
Ofyours
hits
the
cursed
creature
with
an
attack,
the
creature
has
vulnerability
tO
all
of
that
attack's
damage,
and
then
the
curse
ends.
SENTINEL
AT
DEATH’S
DOOR
At
6th
level,
you
gain
the
ability
to
impede
death’s
prog-
ress.
As
a
reaction
when
you
or
a
creature
you
can
see
within
30
feet
of
you
suffers
a
critical
hit,
you
can
turn
that
hit
into
a
normal
hit.
Any
effects
triggered
by
a
criti-
cal
hit
are
canceled.
You
can
use
this
feature
a
number
of
times
equal
to
your
Wisdom
modifier
(minimum
of
once).
You
regain
all
expended
uses
when
you
finish
a
long
rest.
POTENT
SPELLCASTING
Starting
at
8th
level,
you
add
your
Wisdom
modifier
to
the
damage
you
deal
with
any
cleric
cantrip.
KEEPER
or
SOULS
Starting
at
17th
level.
you
can
seize
a
trace
of
vitality
from
a
parting
soul
and
use
it
to
heal
the
living.
When
an
enemy
you
can
see
dies
within
60
feet
of
you,
you
or
one
creature
of
your
choice
that
is
within
60
feet
of
you
regains
hit
points
equal
to
the
enemy’s
number
of
Hit
Dice.
You
can
use
this
feature
only
if
you
aren’t
incapac-
itated.
Once
you
use
it,
you
can't
do
so
again
until
the
start
of
your
next
turn.
DRUID
Evert
[N
DEATH,
eaCH
CREATURE
PLAYS
ITS
PART
IN
maintaining
the
Great
Balance.
But
now
an
imbalance
grows,
aforce
that
seeks
to
hold
svvay
over
nature.
This
is
the
destructive
behavior
of
the
mortal
races.
Thejarther
atvayfrom
nature
their
actions
take
them.
the
more
car—
rupting
their
influence
becomes.
As
druids,
we
seek
mainly
to
protect
and
educate,
to
preserve
the
Great
Balance,
but
there
are
times
when
we
must
rise
up
against
danger
and
eradicate
it.
—Safhran,
archdruid
Druids
are
the
caretakers
of
the
natural
world,
and
it
is
said
that
in
time
a
druid
becomes
the
voice
of
nature,
speaking
the
truth
that
is
too
subtle
for
the
general
pop—
ulace
to
hear.
Many
who
become
druids
find
that
they
naturally
gravitate
toward
nature;
its
forces,
cycles,
and
movements
fill
their
minds
and
spirits
with
wonder
and
insight.
Many
sages
and
wise
folk
have
studied
nature,
writing
volumes
about
its
mystery
and
power,
but
druids
are
a
special
kind
of
being:
at
some
point,
they
begin
to
embody
these
natural
forces,
producing
magical
phenomena
that
link
them
to
the
spirit
of
nature
and
the
flow
of
life.
Because
of
their
strange
and
mysterious
power,
druids
are
often
revered,
shunned,
or
considered
dangerous
by
the
people
around
them.
Your
druid
character
might
be
a
true
worshiper
of
na—
ture,
one
who
has
always
scorned
civilization
and
found
solace
in
the
wild.
Or
your
character
could
be
a
child
of
the
city
who
now
strives
to
bring
the
civilized
world
into
harmony
with
the
wilderness.
You
can
use
the
sections
that
follow
to
flesh
out
your
druid,
regardless
of
how
your
character
came
to
the
profession.
TREASURED
ITEM
Some
druids
carry
one
or
more
items
that
are
sacred
to
them
or
have
deep
personal
significance.
Such
items
are
not
necessarily
magical,
but
every
one
is
an
object
whose
meaning
connects
the
druid’s
mind
and
heart
to
a
profound
concept
or
spiritual
outlook.
When
you
decide
what
your
character’s
treasured
item
is,
think
about
giving
it
an
origin
story:
how
did
you
come
by
the
item,
and
why
is
it
important
to
you?
lot
qlwqclt
(iktal
druid!
hqémrql
inSr-raliewii
fur
alone
Si/IOM‘A
l’ltiut
I“
lot-mews
lime]
are
wad!
Ami
l
lotlirvs
Harri
ck
.—.
we,
.iui.
Q
TREASURED
ITEMS
d6
Item
1
A
twig
from
the
meeting
tree
that
stands
in
the
center
ofyour
village
A
vial
ofwater
from
the
source
ofa
sacred
river
Special
herbs
tied
together
in
a
bundle
A
small
bronze
bowl
engraved
with
animal
images
A
rattle
made
from
a
dried
gourd
and
holly
berries
A
miniature
golden
sickle
handed
down
to
you
by
G‘U'l-P‘LUJN
your
mentor
GUIDING
ASPECT
Many
druids
feel
a
strong
link
to
a
specific
aspect
of
the
natural
world,
such
as
a
body
of
water,
an
animal,
a
type
of
tree,
or
some
other
sort
of
plant.
You
identify
with
your
chosen
aspect;
by
its
behavior
or
its
very
nature,
it
sets
an
example
that
you
seek
to
emulate.
GUIDING
ASPECTS
d6
Guiding
Aspect
1
Yew
trees
remind
you
of
renewing
your
mind
and
spirit,
letting
the
old
die
and
the
new
spring
forth.
2
Oak
trees
represent
strength
and
vitality.
Medi-
tating
under
an
oak
fills
your
body
and
mind
with
resolve
and
fortitude.
3
The
river’s
endless
flow
reminds
you
ofthe
great
span
ofthe
world.
You
seek
to
act
with
the
long-
term
interests
of
nature
in
mind.
4
The
sea
is
a
constant,
churning
cauldron
of
power
and
chaos.
It
reminds
you
that
accepting
change
is
necessary
to
sustain
yourselfin
the
world.
5
The
birds
in
the
sky
are
evidence
that
even
the
smallest
creatures
can
survive
ifthey
remain
above
the
fray.
6
As
demonstrated
by
the
actions
ofthe
wolf,
an
individual’s
strength
is
nothing
compared
to
the
power
ofthe
pack.
MENTOR
It’s
not
unusual
for
would-be
druids
to
seek
out
(or
be
sought
out
by)
instructors
or
elders
who
teach
them
the
basics
of
their
magical
arts.
Most
druids
who
learn
from
a
mentor
begin
their
training
at
a
young
age,
and
the
mentor
has
a
vital
role
in
shaping
a
student’s
attitudes
and
beliefs.
If
your
character
received
training
from
someone
else,
who
or
what
was
that
individual,
and
what
was
the
nature
of
your
relationship?
Did
your
mentor
imbue
you
with
a
particular
outlook
or
otherwise
influence
your
approach
to
achieving
the
goals
of
your
chosen
path?
DRUID
or
THE
CIRCLE
or:
DREAMS
MENTORS
d6
Mentor
1
Your
mentor
was
a
wise
treant
who
taught
you
to
think
in
terms
ofyears
and
decades
rather
than
days
or
months.
2
You
were
tutored
by
a
dryad
who
watched
over
a
slumbering
portal
to
the
Abyss.
During
your
training,
you
were
tasked
with
watching
for
hidden
threats
to
the
world.
3
Your
tutor
always
interacted
with
you
in
the
form
of
a
falcon.
You
never
saw
the
tutor’s
humanoid
form.
4
You
were
one
of
several
youngsters
who
were
mentored
by
an
old
druid,
until
one
ofyour
fellow
pupils
betrayed
your
group
and
killed
your
master.
5
Your
mentor
has
appeared
to
you
only
in
visions.
You
have
yet
to
meet
this
person,
and
you
are
not
sure
such
a
person
exists
in
mortal
form.
6
Your
mentor
was
a
werebear
who
taught
you
to
treat
all
living
things
with
equal
regard.
DRUID
CIRCLES
At
2nd
level,
a
druid
gains
the
Druid
Circle
feature.
The
following
options
are
available
to
a
druid,
in
addition
to
those
offered
in
the
Player’s
Handbook:
the
Circle
of
Dreams
and
the
Circle
of
the
Shepherd.
CIRCLE
OF
DREAMS
Druids
who
are
members
of
the
Circle
of
Dreams
hail
from
regions
that
have
strong
ties
to
the
Feywild
and
its
dreamlike
realms.
The
druids’
guardianship
of
the
natural
world
makes
for
a
natural
alliance
between
them
and
good-aligned
fey.
These
druids
seek
to
fill
the
world
with
dreamy
wonder.
Their
magic
mends
wounds
and
brings
joy
to
downcast
hearts,
and
the
realms
they
protect
are
gleaming,
fruitful
places,
where
dream
and
reality
blur
together
and
where
the
weary
can
find
rest.
CIRCLE
OF
DREAMS
FEATURES
Druid
Level
Feature
2nd
Balm
ofthe
Summer
Court
6th
Hearth
of
Moonlight
and
Shadow
10th
Hidden
Paths
14th
Walker
in
Dreams
BALM
OF
THE
SUMMER
COURT
At
2nd
level,
you
become
imbued
with
the
blessings
of
the
Summer
Court.
You
are
a
font
of
energy
that
offers
respite
from
injuries.
You
have
a
pool
of
fey
energy
rep-
resented
by
a
number
of
C168
equal
to
your
druid
level.
As
a
bonus
action,
you
can
choose
one
creature
you
can
see
within
120
feet
of
you
and
spend
a
number
of
l
those
dice
equal
to
half
your
druid
level
or
less.
Roll
the
spent
dice
and
add
them
together.
The
target
regains
a
:
number
of
hit
points
equal
to
the
total.
The
target
also
'
gains
1
temporary
hit
point
per
die
spent.
You
regain
all
expended
dice
when
you
finish
a
long
rest.
HEARTH
OF
MOONLIGHT
AND
SHADOW
At
6th
level,
home
can
be
wherever
you
are.
During
a
short
or
long
rest,
you
can
invoke
the
shadowy
power
of
the
Gleaming
Court
to
help
guard
your
respite.
At
the
start
of
the
rest,
you
touch
a
point
in
space,
and
an
invis-
ible,
30-foot—radius
sphere
of
magic
appears,
centered
on
that
point.
Total
cover
blocks
the
sphere.
I
While
within
the
sphere,
you
and
your
allies
gain
a
+5
bonus
to
Dexterity
(Stealth)
and
Wisdom
(Perception)
checks,
and
any
light
from
open
flames
in
the
sphere
(a
l
campfire,
torches,
or
the
like)
isn’t
visible
outside
it.
l
The
sphere
vanishes
at
the
end
of
the
rest
or
when
you
|
leave
the
sphere.
HIDDEN
PATHS
Starting
at
10th
level,
you
can
use
the
hidden,
magical
pathways
that
some
fey
use
to
traverse
space
in
the
blink
of
an
eye.
As
a
bonus
action
on
your
turn,
you
can
teleport
up
to
60
feet
to
an
unoccupied
space
you
can
see.
Alternatively,
you
can
use
your
action
to
teleport
one
willing
creature
you
touch
up
to
30
feet
to
an
unoc-
cupied
space
you
can
see.
You
can
use
this
feature
a
number
of
times
equal
to
your
Wisdom
modifier
(minimum
of
once),
and
you
re-
gain
all
expended
uses
of
it
when
you
finish
a
long
rest.
WALKER
IN
DREAMS
At
14th
level,
the
magic
of
the
Feywild
grants
you
the
ability
to
travel
mentally
or
physically
through
dreamlands.
When
you
finish
a
short
rest,
you
can
cast
one
of
the
following
spells,
without
expending
a
spell
slot
or
re-
quiring
material
components:
dream
(with
you
as
the
messenger),
scrying,
or
teleportation
circle.
This
use
of
teleportation
circle
is
special.
Rather
than
opening
a
portal
to
a
permanent
teleportation
circle,
it
opens
a
portal
to
the
last
location
where
you
finished
a
long
rest
on
your
current
plane
of
existence.
If
you
haven*t
taken
a
long
rest
on
your
current
plane,
the
spell
fails
but
isn’t
wasted.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
CIRCLE
OF
THE
SHEPHERD
Druids
of
the
Circle
of
the
Shepherd
commune
with
the
spirits
of
nature,
especially
the
spirits
of
beasts
and
the
fey,
and
call
to
those
spirits
for
aid.
These
druids
recognize
that
all
living
things
play
a
role
in
the
natural
world,
yet
they
focus
on
protecting
animals
and
fey
creatures
that
have
difficulty
defending
themselves.
Shepherds,
as
they
are
known,
see
such
creatures
as
their
charges.
They
ward
off
monsters
that
threaten
them,
rebuke
hunters
who
kill
more
prey
than
necessary,
and
prevent
civilization
from
encroaching
on
rare
animal
habitats
and
on
sites
sacred
to
the
fey.
Many
of
these
druids
are
happiest
far
from
cities
and
towns,
content
to
spend
their
days
in
the
company
of
animals
and
the
fey
creatures
of
the
wilds.
Members
of
this
circle
become
adventurers
to
oppose
forces
that
threaten
their
charges
or
to
seek
knowledge
and
power
that
will
help
them
safeguard
their
charges
better.
Wherever
these
druids
go,
the
spirits
of
the
wil—
derness
are
with
them.
CIRCLE
OF
THE
SHEPHERD
FEATURES
Druid
Level
Feature
2nd
Speech
ofthe
Woods,
Spirit
Totem
6th
Mighty
Summoner
10th
Guardian
Spirit
14th
Faithful
Summons
SPEECH
or
THE
Woons
At
2nd
level,
you
gain
the
ability
to
converse
with
beasts
and
many
fey.
You
learn
to
speak,
read,
and
write
Sylvan.
In
addi‘
tion,
beasts
can
understand
your
speech,
and
you
gain
the
ability
to
decipher
their
noises
and
motions.
Most
beasts
lack
the
intelligence
to
convey
or
understand
sophisticated
concepts,
but
a
friendly
beast
could
relay
what
it
has
seen
or
heard
in
the
recent
past.
This
ability
doesn’t
grant
you
friendship
with
beasts,
though
you
can
Damn
or
THE
CiRCl-E
or
THE
SHEPHERD
combine
this
ability
with
gifts
to
curry
favor
with
them
as
you
would
with
any
nonplayer
character.
SPIRIT
TOTEM
Starting
at
2nd
level,
you
can
call
forth
nature
spirits
to
influence
the
world
around
you.
As
a
bonus
action,
you
can
magically
summon
an
incorporeal
spirit
to
a
point
you
can
see
within
60
feet
of
you.
The
spirit
creates
an
aura
in
a
30-foot
radius
around
that
point.
It
counts
as
neither
a
creature
nor
an
object,
though
it
has
the
spec-
tral
appearance
of
the
creature
it.
represents.
As
a
bonus
action,
you
can
move
the
spirit
up
to
60
feet
to
a
point
you
can
see.
The
spirit
persists
for
1
minute
or
until
you’re
incapac—
itated.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
The
effect
of.the
spirit’s
aura
depends
on
the
type
of
spirit
you
summon
from
the
options
below.
Bear
Spirit.
The
bear
spirit
grants
you
and
your
allies
its
might
and
endurance.
Each
creature
of
your
choice
in
the
aura
when
the
spirit
appears
gains
temporary
hit
points
equal
to
5
+
your
druid
level.
In
addition,
you
and
your
allies
gain
advantage
on
Strength
checks
and
Strength
saving
throws
while
in
the
aura.
Hawk
Spirit.
The
hawk
spirit
is
a
consummate
hunter,
aiding
you
and
your
allies
with
its
keen
sight.
When
a
creature
makes
an
attack
roll
against
a
target
in
the
spirit’s
aura,
you
can
use
your
reaction
to
grant
advantage
to
that
attack
roll.
In
addition,
you
and
your
allies
have
advantage
on
Wisdom
(Perception)
checks
while
in
the
aura.
1:115
R
i
t
5':
:
1-1
.,
Jr'tirfi
_
...-..,,._.,.__-___
___.__..._..._..._._._......_...' '
.._.___.
_______._.___.-.._______
..,;:.'._._‘_
I,:__"—..,.'.._,-,_'
um..-)-
_
____”:_.
_...
Unicorn
Spirit.
The
unicorn
spirit
lends
its
protection
to
those
nearby.
You
and
your
allies
gain
advantage
on
all
ability
checks
made
to
detect
creatures
in
the
spirit’s
aura.
In
addition.
if
you
cast
a
spell
using
a
spell
slot
that
restores
hit
points
to
any
creature
inside
or
outside
the
aura,
each
creature
of
your
choice
in
the
aura
also
regains
hit
points
equal
to
your
druid
level.
MIGHTY
SUMMONER
Starting
at
6th
level,
beasts
and
fey
that
you
conjure
are
more
resilient
than
normal.
Any
beast
or
fey
summoned
or
created
by
a
spell
that
you
cast
gains
the.
follow—
ing
benefits:
-
The
creature
appears
with
more
hit
points
than
nor—
mal:
2
extra
hit
points
per
Hit
Die
it
has.
-
The
damage
from
its
natural
weapons
is
considered
magical
for
the
purpose
of
overcoming
immunity
and
resistance
to
nonmagical
attacks
and
damage.
GUARDIAN
SPIRIT
Beginning
at
10th
level,
your
Spirit
Totem
safeguards
the
beasts
and
fey
that
you
call
forth
with
your
magic.
When
a
beast
or
fey
that
you
summoned
or
created
with
a
spell
ends
its
turn
in
your
Spirit
Totem
aura,
that
crea—
ture
regains
a
number
of
hit
points
equal
to
halfyour
druid
level.
FAITHFUL
SUMMONS
Starting
at
14th
level,
the
nature
spirits
you
commune
with
protect
you
when
you
are
the
most
defenseless.
If
you
are
reduced
to
0
hit
points
or
are
incapacitated
against
your
will,
you
can
immediately
gain
the
benefits
of
conjure
animals
as
if
it
were
cast
using
a
9th-level
spell
slot.
It
summons
four
beasts
of
your
choice
that
are
challenge
rating
2
or
lower.
The
conjured
beasts
appear
within
20
feet
of
you.
If
they
receive
no
commands
from
you,
they
protect
you
from
harm
and
attack
your
foes.
The
spell
lasts
for
1
hour,
requiring
no
concentration,
or
until
you
dismiss
it
(no
action
required).
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
LEARNING
BEAST
SHAPES
The
Wild
Shape
feature
in
the
Player’s
Handbook
lets
you
transform
into
a
beast
that
you’ve
seen.
That
rule
gives
you
a
tremendous
amount
of
flexibility,
making
it
easy
to
amass
an
array
of
beast
form
options
for
your-
self,
but
you
must
abide
by
the
limitations
in
the
Beast
Shapes
table
in
that
book.
When
you
gain
Wild
Shape
as
a
2nd—level
druid,
you
might
wonder
which
beasts
you've
already
seen.
The
following
tables
organize
beasts
from
the
Monster
Man—
ual
according
to
the
beasts’
most
likely
environments.
Consider
the
environment
your
druid
grew
up
in,
then
consult
the
appropriate
table
for
a
list
of
animals
that
your
druid
has
probably
seen
by
2nd
level.
These
tables
can
also
help
you
and
your
DM
deter-
mine
which
animals
you
might
see
on
your
travels.
In
addition,
the
tables
include
each
beast’s
challenge
rating
and
note
whether
a
beast
has
a
flying
or
swims
ming
speed.
This
information
will
help
you
determine
whether
you
qualify
to
assume
that
beast’s
form.
ti
l-l
.‘~.
l’i"
in
E3.
1
I..ii_".
it
.‘~.I.'
ii
F3,
i
3
PT
i
(I
j.‘
.“x'.
3'
ll
l
”Vi-M
LUV“
lhlifl
sawthlnivxg
(lit,
Q}
t
wasn‘t.
new.
more,“
rlsz
is
ihlzrior
lo:
we.
The
tables
include
all
the
individual
beasts
that
are
eligible
for
Wild
Shape
(up
to
a
challenge
rating
of
1)
or
the
Circle
Forms
feature
of
the
Circle
of
the
Moon
(up
to
a
challenge
rating
of
6).
ARCTIC
CR
Beast
Fly/Swim
O
Owl
Fly
1/8
Blood
hawk
Fly
1/4
Giant
owl
'
Fly
1
Brown
bear
—
2
Polar
bear
Swim
2
Saber-toothed
tiger
—
6
Mammoth
——
COAST
CR
Beast
Fly/Swim
0
Crab
Swim
0
Eagle
Fly
l/S
Blood
hawk
Fly
1/8
Giant
crab
Swim
l/8
Poisonous
snake
Swim
l/8
Stirge
Fly
1/4
Giant
lizard
~—
1/4
Giant
wolfspider
—
1/4
Pteranodon
Fly
1
Giant
eagle
Fly
1
Giant
toad
Swim
2
Plesiosaurus
Swim
DESERT
CR
Beast
Fly/Swim
0
Cat
-—
O
Hyena
—
0
Jackal
——
O
Scorpion
——
0
Vulture
Fly
l/S
Camel
—-
1/8
Flying
snake
Fly
l/8
Mule
—
1/8
Poisonous
snake
Swim
1/8
Stirge
Fly
1/4
Constrictor
snake
Swim
1/4
Giant
lizard
——
l/4
Giant
poisonous
snake
Swim
1/4
Giant
wolf
spider
——
1
Giant
hyena
—
1
Giant
spider
——
1
Giant
toad
Swim
1
Giant
vulture
Fly
1
Lion
—
2
Giant
constrictor
snake
Swim
3
Giant
scorpion
—
_
_.-..—..-_—.—-..-—.—..__._
FOREST
CR
Beast
0
Baboon
0
Badger
0
Cat
0
Deer
0
Hyena
0
Owl
1/8
Blood
hawk
1/8
Flying
snake
1/8
Giant
rat
1/8
Giant
weasel
1/8
Poisonous
snake
1/8
Mastiff
1/8
Stirge
1/4
Boar
1/4
Constrictor
snake
1/4
Elk
1/4
Giant
badger
1/4
Giant
bat
1/4
Giant
frog
1/4
Giant
lizard
1/4
Giant
owl
1/4
Giant
poisonous
snake
1/4
Giant
wolfspider
1/4
Panther
1/4
Wollf
1/2
Ape
1/2
Black
bear
1/2
Giant
wasp
1
Brown
bear
1
Dire
wolf
1
Giant
hyena
1
Giant
spider
1
Giant
toad
1
Tiger
2
Giant
boar
2
Giant
constrictor
snake
2
Giant
elk
Fly/Swim
Fly
Fly
Fly
Swim
Fly
Swim
Fly
Swim
Fly
Swim
GRASSLAND
1/4
1/4
1/4
1/2
1/2
_.I
Ln-h-UJNNNN—I—‘A—I
Beast
Cat
Deer
Eagle
Goat
Hyena
Jackal
Vulture
Blood
hawk
Flying
snake
Giant
weasel
Poisonous
snake
Stirge
Axe
beak
Boar
Elk
Giant
poisonous
snake
Giant
wolfspider
Panther
(leopard)
Pteranodon
Riding
horse
Wolf
Giant
goat
Giant
wasp
Giant
eagle
Giant
hyena
Giant
vulture
Lion
Tiger
Allosaurus
Giant
boar
Giant
elk
Rhinoceros
Ankylosaurus
Elephant
Triceratops
U
l
i
[1.
Fifi:—
l
i
.ii
Fly/Swim
Fly
1.
l--..-"ai
'
i
ii
i~'.
{ill-i—
l
‘17.“:
.‘x
HILL
CR
Beast
0
Baboon
0
Eagle
0
Goat
0
Hyena
0
Raven
0
Vulture
1/8
Blood
hawk
1/3
Giant
weasel
1/3
Mastifi'
1/8
Mule
1/3
Poisonous
snake
1/8
Stirge
1/4
Axe
beak
1/4
Boar
1/4
Elk
1/4
Giant
owl
1/4
Giant
wolf
spider
1/4
Panther
(cougar)
1/4
Wolf
1/2
Giant
goat
1
Brown
bear
1
Dire
wolf
1
Giant
eagle
1
Giant
hyena
1
Lion
2
Giant
boar
2
Giant
elk
MOUNTAIN
CR
Beast
0
Eagle
0
Goat
1/8
Blood
hawk
1/3
Stirge
1/4
Pteranodon
1/2
Giant
goat
1
Giant
eagle
1
Lion
2
Giant
elk
2
Saber-toothed
tiger
SWAMP
Fly/Swim
CR
Beast
—
O
Rat
Fly
0
Raven
—
1/8
Giant
rat
._
1/3
Poisonous
snake
Fly
1/8
Stirge
Fly
1/4
Constrictor
snake
Fly
1/4
Giant
frog
—
1/4
Giant
lizard
—
1/4
Giant
poisonous
snake
—
1/2
Crocodile
Swim
1
Giant
spider
Fly
1
Giant
toad
—
2
Giant
constrictor
snake
5
Giant
crocodile
Fly
UNDERDARK
—
CR
Beast
0
Giant
fire
beetle
1/8
Giant
rat
1/8
Stirge
1/4
Giant
bat
1/4
Giant
centipede
Fly
1/4
Giant
lizard
—
1/4
Giant
poisonous
snake
—
1
Giant
spider
_
1
Giant
toad
_
2
Giant
constrictor
snake
2
Polar
bear
(cave
bear)
Fly/Swim
UNDERWATER
F'Y
CR
Beast
—
0
Quipper
Fly
1/4
Constrictor
snake
Fly
1/2
Giant
sea
horse
Fly
1/2
Reelc
shark
—
1
Giant
octopus
Fly
Giant
constrictor
snake
__
Hunter
shark
Plesiosaurus
Killer
whale
Giant
shark
mwNNN
Fly/Swim
Fly
Swim
Fly
Swim
Swim
Swim
Swim
Swim
Swim
Swim
Fly/Swim
Fly
Fly
Swim
Swim
Swim
Swim
Fly/Swim
Swim
Swim
Swim
Swim
Swim
Swim
Swim
Swim
Swim
Swim
FIGHTER
LET
ME
KNOw
WEN
YOU’RE
ALL
DONE
TALKING.
-—Tordel<
Of
all
the
adventurers
in
the
worlds
of
D&D,
the
fighter
is
perhaps
the
greatest
paradox.
On
the
one
hand,
a
sin-
gular
feature
of
the
class
is
that
no
two
fighters
ply
their
craft
in
quite
the
same
way;
their
weapons,
armor,
and
tactics
differ
across
a
vast
spectrum.
On
the
other
hand,
regardless
of
the
tools
and
methods
one
uses,
at
the
heart
of
every
fighter’s
motivation
lies
the
same
basic
truth:
it
is
better
to
wound
than
to
be
wounded.
Although
some
adventuring
fighters
risk
their
lives
fighting
for
glory
or
treasure,
others
are
primarily
con
cerned
with
the
welfare
of
others.
They
put
more
value
on
the
well-being
of
the
society,
the
village,
or
the
group
than
on
their
own
safety.
Even
if
there’s
gold
in
the
off—
ing,
the
true
reward
for
most
fighters
comes
from
send-
ing
enemies
to
their
doom.
The
sections
below
offer
ways
to
add
a
little
depth
and
a
few
personal
touches
to
your
fighter
character.
HERALDIC
SIGN
Fighters
typically
do
battle
for
a
cause.
Some
fight
on
behalf
of
kingdoms
besieged
by
monsters,
while
others
quest
only
for
personal
glory.
In
either
case,
a
fighter
often
displays
a
heraldic
sign
that
represents
that
cause,
either
adopting
the
symbol
of
a
nation
or
a
royal
line,
or
creating
a
crest
to
represent
one’s
self—interest.
Your
character
could
be
affiliated
with
an
organization
or
a
cause,
and
thus
might
already
travel
under
a
banner
of
some
sort.
If
that’s
not
the
case,
consider
devising
a
heraldic
sign
that
symbolizes
an
aspect
of
your
nature
or
speaks
to
what
you
see
as
your
purpose
in
the
world.
Slciclis
and
sizes,“
wet]
[orq
we‘
loan“,
lock-k
Marni
will
Intutr
llluxrjc
“~1q
[on
at
l
than}
reality
hisln
qhal
slnoolc
glow“
oil:
are
aegis
Sign
l
A
rampant
golden
dragon
on
a
green
field,
repre-
senting
valor
and
a
quest
for
wealth
2
The
fist
ofa
storm
giant
clutching
lightning
before
a
storm
cloud,
symbolizing
wrath
and
power
3
Crossed
greatswords
in
front
ofa
castle
gate,
signi-
fying
the
defense
ofa
city
or
kingdom
4
A
skull
with
a
dagger
through
it,
representing
the
doom
you
bring
to
your
enemies
5
A
phoenix
in
a
ring
offire,
an
expression
ofan
in-
domitable
spirit
6
Three
drops
ofblood
beneath
a
horizontal
sword
blade
on
a
black
background,
symbolizing
three
foes
you
have
sworn
to
kill
INSTRUCTOR
Some
fighters
are
natural—born
combatants
who
have
a
talent
for
surviving
in
battle.
Others
learned
the
ba-
sics
of
their
combat
prowess
in
their
formative
years
from
spending
time
in
a
military
or
some
other
martial
organization,
when
they
were
taught
by
the
leaders
of
the
group.
A
third
type
of
fighter
comes
from
the
ranks
of
those
who
received
one—on-one
instruction
from
an
accom-
plished
veteran
of
the
craft.
That
instructor
was,
or
perhaps
still
is,
well
versed
in
a
certain
aspect
of
combat
that
relates
to
the
student’s
background.
If
you
decide
that
your
character
had
an
individual
instructor,
What
is
that
person’s
specialty?
Do
you
emulate
your
instructor
in
how
you
fight,
or
did
you
take
the
instructor’s
teachings
and
adapt
them
to
your
own
purposes?
INSTRUCTORS
d6
Instructor
1
Gladiator.
Your
instructor
was
a
slave
who
fought
for
freedom
in
the
arena,
or
one
who
willingly
chose
the
gladiator’s
life
to
earn
money
and
fame.
2
Military.
Your
trainer
served
with
a
group
ofsol-
diers
and
knows
much
about
working
as
a
team.
3
City
Watch.
Crowd
control
and
peacekeeping
are
your
instructor’s
specialties.
4
Tribal
Warrior.
Your
instructor
grew
up
in
a
tribe,
where
fighting
for
one's
life
was
practically
an
everyday
occurrence.
5
Street
Fighter.
Your
trainer
excels
at
urban
combat,
combining
close-quarters
work
with
silence
and
efficiency.
6
Weapon
Master.
Your
mentor
helped
you
to
be-
come
one
with
your
chosen
weapon,
by
imparting
highly
specialized
knowledge
of
how
to
wield
it
most
effectively.
Arrows
ctr!
HM
werii.
"ll/Ha
3°
wu-Cln
{Mil/w
Uriah
It]!
rat‘s.
'l’lAf-HJC‘S
Hlm‘
l
Show
lvoors
(all
Um.-
l:iw~r,
finial“,
lclAt
stir.‘
it
Lolzquc‘
con-mink
Q
SIGNATURE
STYLE
Many
fighters
distinguish
themselves
from
their
peers
by
adopting
and
perfecting
a
particular
style
or
method
of
waging
combat.
Although
this
style
might
be
a
natural
outgrowth
of
a
fighter’s
personality,
that's
not
always
the
case—someones
approach
to
the
world
in
general
does
not
necessarily
dictate
how
that
person
operates
when
lives
are
on
the
line.
Do
you
have
a
combat
style
that
mirrors
your
outlook
on
life,
or
is
something
else
inside
you
unleashed
when
weapons
are
drawn?
SIGNATURE
STYLES
d6
Style
1
Elegant.
You
move
with
precise
grace
and
total
control,
never
using
more
energy
than
you
need.
2
Brutal.
Your
attacks
rain
down
like
hammer
blows,
meant
to
splinter
bone
or
send
blood
flying.
3
Cunning.
You
dart
in
to
attack
at
just
the
right
mo-
ment
and
use
small-scale
tactics
to
tilt
the
odds
in
your
favor.
4
Effortless.
You
rarely
perspire
or
display
anything
other
than
a
stoic
expression
in
battle.
5
Energetic.
You
sing
and
laugh
during
combat
as
your
spirit
soars.
You
are
happiest
when
you
have
a
foe
in
front
ofyou
and
a
weapon
in
hand.
6
Sinister.
You
scowl
and
sneer
while
fighting,
and
you
enjoy
mocking
your
foes
as
you
defeat
them.
MARTIAL
ARCHETYPES
At
3rd
level,
a
fighter
gains
the
Martial
Archetype
fea-
ture.
The
following
options
are
available
to
a
fighter,
in
addition
to
those
offered
in
the
Player’s
Handbook:
the
Arcane
Archer,
the
Cavalier,
and
the
Samurai.
ARCANE
ARCHER
An
Arcane
Archer
studies
a
unique
elven
method
of
archery
that
weaves
magic
into
attacks
to
produce
su-
pernatural
effects.
Arcane
Archers
are
some
of
the
most
elite
warriors
among
the
elves.
They
stand
watch
over
the
fringes
of
elven
domains,
keeping
a
keen
eye
out
for
trespassers
and
using
magic—infused
arrows
to
defeat
monsters
and
invaders
before
they
can
reach
elven
set—
tlements.
Over
the
centuries,
the
methods
of
these
elf
archers
have
been
learned
by
members
of
other
races
who
can
also
balance
arcane
aptitude
with
archery.
ARCANE
ARCHER
FEATURES
Fighter
Level
Feature
3rd
Arcane
Archer
Lore,
Arcane
Shot
(2
options)
7th
Curving
Shot,
Magic
Arrow,
Arcane
Shot
(3
options)
10th
Arcane
Shot
(4
options)
15th
Ever-Ready
Shot,
Arcane
Shot
(5
options)
18th
Arcane
Shot
(6
options,
improved
shots)
ARCANE
ARCHER
LORE
At
3rd
level,
you
learn
magical
theory
or
some
of
the
secrets
of
nature—typical
for
practitioners
of
this
elven
martial
tradition.
You
choose
to
gain
proficiency
in
ei—
ther
the
Arcana
or
the
Nature
skill,
and
you
choose
to
learn
either
the
prestidigr'tation
or
the
drufdcraft
cantrip.
A
RC
A
N
E
S
H
OT
At
3rd
level,
you
learn
to
unleash
special
magical
effects
with
some
of
your
shots.
When
you
gain
this
feature,
you
learn
two
Arcane
Shot
options
of
your
choice
(see
“Ar-
cane
Shot
Options”
below).
Once
per
turn
when
you
fire
a
magic
arrow
from
a
shortbow
or
longbow
as
part
of
the
Attack
action,
you
can
apply
one
of
your
Arcane
Shot
options
to
that
ar—
row.
You
decide
to
use
the
option
when
the
arrow
hits
a
creature,
unless
the
option
doesn’t
involve
an
attack
roll.
You
have
two
uses
of
this
ability,
and
you
regain
all
expended
uses
of
it
when
you
finish
a
short
or
long
rest.
You
gain
an
additional
Arcane
Shot
option
of
your
choice
when
you
reach
certain
levels
in
this
class:
7th,
10th,
15th,
and
18th
level.
Each
option
also
improves
when
you
become
an
18th—level
fighter.
M
AGIC
A
now
At
7th
level,
you
gain
the
ability
to
infuse
arrows
with
magic.
Whenever
you
fire
a
nonmagical
arrow
from
a
shortbow
or
longbow,
you
can
make
it
magical
for
the
purpose
of
overcoming
resistance
and
immunity
to
non-
magical
attacks
and
damage.
The
magic
fades
from
the
arrow
immediately
after
it
hits
or
misses
its
target.
C
U
Rv
I
N
c
S
H
OT
At
7th
level,
you
learn
how
to
direct
an
errant
arrow
toward
a
new
target.
When
you
make
an
attack
roll
with
a
magic
arrow
and
miss,
you
can
use
a
bonus
action
to
reroll
the
attack
roll
against
a
different
target
within
60
feet
of
the
original
target.
EvER-REA
DY
SHOT
Starting
at
15th
level,
your
magical
archery
is
available
whenever
battle
starts.
If
you
roll
initiative
and
have
no
uses
of
Arcane
Shot
remaining,
you
regain
one
use
of
it.
ARCANE
SHOT
OPTIONS
The
Arcane
Shot
feature
lets
you
choose
options
for
it
at
certain
levels.
The
options
are
presented
here
in
alpha-
betical
order.
They
are
all
magical
effects,
and
each
one
is
associated
with
one
of
the
schools
of
magic.
If
an
option
requires
a
saving
throw,
your
Arcane
Shot
save
DC
equals
8
+
your
proficiency
bonus
+
your
Intelli-
gence
modifier.
_.—_——___—_..—-_
—'-..-
I.
—'-r
LEFT
To
QIsHT:
Sara-team,
CAVALIER,
AND
ARCANE
ARCHER
Banishing
Arrow.
You
use
abjuration
magic
to
try
to
temporarily
banish
your
target
to
a
harmless
location
in
the
Feywild.
The
creature
hit
by
the
arrow
must
also
succeed
on
a
Charisma
saving
throw
or
be
banished.
While
banished
in
this
way,
the
target’s
speed
is
0,
and
it
is
incapacitated.
At
the
end
of
its
next
turn,
the
target
reappears
in
the
Space
it
vacated
or
in
the
nearest
unoc-
cupied
space
if
that
space
is
occupied.
After
you
reach
18th
level
in
this
class,
a
target
also
takes
2d6
force
damage
when
the
arrow
hits
it.
Regaining
Arrow.
Your
enchantment
magic
causes
this
arrow
to
temporarily
beguile
its
target.
The
creature
hit
by
the
arrow
takes
an
extra
2d6
psychic
damage,
and
choose
one
ofyour
allies
within
30
feet
of
the
target.
The
target
must
succeed
on
a
Wisdom
saving
throw,
or
it
is
charmed
by
the
chosen
ally
until
the
start
of
your
next
turn.
This
effect
ends
early
if
the
chosen
ally
at—
tacks
the
charmed
target,
deals
damage
to
it,
or
forces
it
to
make
a
saving
throw.
The
psychic
damage
increases
to
4d6
when
you
reach
18th
level
in
this
class.
Bursting
Arrow.
You
imbue
your
arrow
with
force
energy
drawn
from
the
school
of
evocation.
The
energy
detonates
after
your
attack.
Immediately
after
the
ar—
row
hits
the
creature,
the
target
and
all
other
creatures
within
10
feet
of
it
take
2d6
force
damage
each.
The
force
damage
increases
to
4d6
when
you
reach
18th
level
in
this
class.
Enfeeblfng
Arrow.
You
weave
necromantic
magic
into
your
arrow.
The
creature
hit
by
the
arrow
takes
an
extra
2d6
necrotic
damage.
The
target
must
also
succeed
on
a
Constitution
saving
throw,
or
the
damage
dealt
by
its
weapon
attacks
is
halved
until
the
start
of
your
next
turn.
The
necrotic
damage
increases
to
4d6
when
you
reach
18th
level
in
this
class.
Grasping
Arrow.
When
this
arrow
strikes
its
target,
conjuration
magic
creates
grasping,
poisonous
brams
bles,
which
wrap
around
the
target.
The
creature
hit
by
the
arrow
takes
an
extra
2(16
poison
damage,
its
speed
is
reduced
by
10
feet,
and
it
takes
2-d6
slashing
dam—
age
the
first
time
on
each
turn
it
moves
1
foot
or
more
without
teleporting.
The
target
or
any
creature
that
can
reach
it
can
use
its
action
to
remove
the
brambles
with
a
successful
Strength
(Athletics)
check
against
your
Ar-
cane
Shot
save
DC.
Otherwise,
the
brambles
last
for
1
minute
or
until
you
use
this
option
again.
The
poison
damage
and
slashing
damage
both
in-
crease
to
4d6
when
you
reach
18th
level
in
this
class.
Piercing
Arrow.
You
use
transmutation
magic
to
give
your
arrow
an
ethereal
quality.
When
you
use
this
option,
you
don’t
make
an
attack
roll
for
the
attack.
Instead,
the
arrow
shoots
forward
in
a
line,
which
is
1
foot
wide
and
30 feet
long,
before
disappearing.
The
arrow
passes
harmlessly
through
objects,
ignoring
cover.
Each
creature
in
that
line
must
make
a
Dexterity
saving
throw.
On
a
failed
save,
a
creature
takes
damage
as
if
it
were
hit
by
the
arrow,
plus
an
extra
1d6
piercing
damage.
On
a
successful
save,
a
target
takes
half
as
much
damage.
The
piercing
damage
increases
to
2d6
when
you
reach
18th
level
in this
class.
Seeking
Arrow.
Using
divination
magic,
you
grant
your
arrow
the
ability
to
seek
out
a
target.
When
you
use
this
option,
you
don’t
make
an
attack
roll
for
the
attack.
Instead,
choose
one
creature
you
have
seen
in
the
past
minute.
The
arrow
flies
toward
that
creature,
moving
around
corners
if
necessary
and
ignoring
three-quarters
cover
and
half
cover.
If
the
target
is
within
the
weapon’s
range
and
there
is
a
path
large
enough
for
the
arrow
to
travel
to
the
target,
the
target
must
make
a
Dexterity
saving
throw.
Otherwise,
the
arrow
disappears
after
traveling
as
far
as
it
can.
On
a
failed
save,
the
target
takes
damage
as
if
it
were
hit
by
the
arrow,
plus
an
extra
1d6
force
damage,
and
you
learn
the
target’s
current
location.
On
a
successful
save,
the
target
takes
half
as
much
damage,
and
you
don’t
learn
its
location.
The
force
damage
increases
to
2d6
when
you
reach
18th
level
in
this
class.
Shadow
Arrow.
You
weave
illusion
magic
into
your
arrow,
causing
it
to
occlude
your
fees
vision
with
shad-
ows.
The
creature
hit
by
the
arrow
takes
an
extra
2d6
psychic
damage,
and
it
must
succeed
on
a
Wisdom
saving
throw
or
be
unable
to
see
anything
farther
than
5
feet
away
until
the
start
of
your
next
turn.
The
psychic
damage
increases
to
4d6
when
you
reach
18th
level
in
this
class.
CAVALIER
The
archetypal
Cavalier
excels
at
mounted
combat.
Usually
born
among
the
nobility
and
raised
at
court,
a
Cavalier
is
equally
at
home
leading
a
cavalry
charge
or
exchanging
repartee
at
a
state
dinner.
Cavaliers
also
learn
how
to
guard
those
in
their
charge
from
harm,
often
serving
as
the
protectors
of
their
superiors
and
of
the
weak.
Compelled
to
right
wrongs
or
earn
prestige,
many
of
these
fighters
leave
their
lives
of
comfort
to
em—
bark
on
glorious
adventure.
CAVALIER
FEATURES
Fighter
Level
Feature
3rd
Bonus
Proficiency,
Born
to
the
Saddle,
Unwavering
Mark
7th
Warding
Maneuver
10th
Hold
the
Line
15th
Ferocious
Charger
18th
Vigilant
Defender
BONUS
PROFICIENCY
When
you
choose
this
archetype
at
3rd
level,
you
gain
proficiency
in
one
of
the
following
skills
of
your
choice:
Animal
Handling,
History,
Insight,
Performance,
or
Persuasion.
Alternatively,
you
learn
one
language
of
your
choice.
BORN
TO
THE
SADDLE
Starting
at
3rd
level,
your
mastery
as
a
rider
becomes
apparent.
You
have
advantage
on
saving
throws
made
to
avoid
falling
off
your
mount.
If
you
fall
off
your
mount
and
descend
no
more
than
10
feet,
you
can
land
on
your
feet
if
you’re
not
incapacitated.
Finally,
mounting
or
dismounting
a
creature
costs
you
only
5
feet
of
movement,
rather
than
half
your
speed.
tili.—‘~.I"j"i-'.':t
l
'
~'.
lis‘alrixi'
i'l-‘z-‘i
t'tli"!'tt_2-“~.i>~'
CAVALIERs,
SAMURAI,
AND
HISTORY
While
both
cavaliers
and
samurai
existed
in
the
real
world,
our
inspirations
for
both
fighter
archetypes
are
taken
from
popular
culture
(folk
tales,
movies,
and
comic
books),
not
from
history.
Our
intent
is
to
capture
the
cinematic,
heroic
element
of
both
archetypes
in
the
game,
rather
than
create
an
accurate
historical
representation
ofeither
one.
*1—
I"
UNWAVERING
MARK
Starting
at
3rd
level,
you
can
menace
your
foe-s,
foiling
their
attacks
and
punishing
them
for
harming
others.
When
you
hit
a
creature
with
a
melee
weapon
attack,
you
can
mark
the
creature
until
the
end
of
your
next
turn.
This
effect
ends
early
if
you
are
incapacitated
or
you
die,
or
if
someone
else
marks
the
creature.
While
it
is
within
5
feet
of
you,
a
creature
marked
by
you
has
disadvantage
on
any
attack
roll
that
doesn’t
target
you.
In
addition,
if
a
creature
marked
by
you
deals
damage
to
anyone
other
than
you,
you
can
make
a
special
melee
weapon
attack
against
the
marked
creature
as
a
bonus
action
on
your
next
turn.
You
have
advantage
on
the
attack
roll,
and
if
it
hits,
the
attacks
weapon
deals
extra
damage
to
the
target
equal
to
half
your
fighter
level.
Regardless
of
the
number
of
creatures
you
mark,
you
can
make
this
special
attack
a
number
of
times
equal
to
your
Strength
modifier
(minimum
of
once),
and
you
re-
gain
all
expended
uses
of
it
when
you
finish
a
long
rest.
WARDING
MANEUVER
At
7th
level,
you
learn
to
fend
off
strikes
directed
at
you,
your
mount,
or
other
creatures
nearby.
If
you
or
a
creature
you
can
see
within
5
feet
of
you
is
hit
by
an
attack,
you
can
roll
ld8
as
a
reaction
if
you’re
wielding
a
melee
weapon
or
a
shield.
Roll
the
die,
and
add
the
number
rolled
to
the
target’s
AC
against
that
attack.
If
the
attack
still
hits,
the
target
has
resistance
against
the
attack’s
damage.
You
can
use
this
feature
a
number
of
times
equal
to
your
Constitution
modifier
(minimum
of
once),
and
you
regain
all
expended
uses
of
it
when
you
finish
a
long
rest.
HOLD
THE
LINE
At
10th
level,
you
become
a
master
of
locking
down
your
enemies.
Creatures
provoke
an
opportunity
attack
from
you
when
they
move
5
feet
or
more
while
within
your
reach,
and
if
you
hit
a
creature
with
an
opportunity
attack,
the
target’s
speed
is
reduced
to
0
until
the
end
of
the
current
turn.
So
Unto:
ctr!
Ail-ltrmlc
hams
l“
Alllarmic
saris
“l
tlt
who
sums
martin?
Milne}?
Lt}:
wt
hru‘.
lot
swim
tr
qmit
Jail-m1
sworA
suing”.
Noun
Llhaic
Samoa:
Lilac
ihls
lclM
siu
cl
1!.
moral
lclltql.
walclurs.
How
aloamic.
lots
W‘QL
lac.
wiltln
a
North
emit
UULU
W‘CIL
loss
“lid"
5'
“on“
Q
S
Shim-(h
FEROGIOUS
CHARGER
Starting
at
15th
level,
you
can
run
down
your
foes,
whether
you’re
mounted
or
not.
If
you
move
at
least
10
feet
in
a
straight
line
right
before
attacking
a
creature
and
you
hit
it
with
the
attack,
that
target
must
succeed
on
a
Strength
saving
throw
(DC
8
+
your
proficiency
bo—
nus
+
your
Strength
modifier)
or
be
knocked
prone.
You
can
use
this
feature
only
once
on
each
of
your
turns.
VIGILANT
DEFENDER
Starting
at
18th
level,
you
respond
to
danger
with
extraordinary
vigilance.
In
combat,
you
get
a
special
reaction
that
you
can
take
once
on
every
creature’s
turn,
except
your
turn.
You
can
use
this
special
reaction
only
to
make
an
opportunity
attack,
and
you
can’t
use
it
on
the
same
turn
that
you
take
your
normal
reaction.
SAMURAI
The
Samurai
is
a
fighter
who
draws
on
an
implacable
fighting
spirit
to
overcome
enemies.
A
Samurai’s
resolve
is
nearly
unbreakable,
and
the
enemies
in
a
Samurai's
path
have
two
choices:
yield
or
die
fighting.
SAMURAI
FEATURES
Fighter
Level
Feature
3rd
Bonus
Proficiency,
Fighting
Spirit
(5
temp.
hp)
F’th
Elegant
Courtier
10th
Tireless
Spirit,
Fighting
Spirit
(10
temp.
hp)
l5th
Rapid
Strike,
Fighting
Spirit
(l5
temp.
hp)
18th
Strength
before
Death
BONUS
PROFICIENCY
When
you
choose
this
archetype
at
3rd
level,
you
gain
proficiency
in
one
of
the
following
skills
of
your
choice:
History,
Insight,
Performance,
or
Persuasion.
Alterna—
tively,
you
learn
one
language
of
your
choice.
FIGHTING
SPIRIT
Starting
at
3rd
level,
your
intensity
in
battle
can
shield
you
and
help
you
strike
true.
As
a
bonus
action
on
your
turn,
you
can
give
yourself
advantage
on
weapon
attack
rolls
until
the
end
of
the
current
turn.
When
you
do
so,
you
also
gain
5
temporary
hit
points.
The
number
of
temporary
hit
points
increases
when
you
reach
certain
levels
in
this
class,
increasing
to
10
at
10th
level
and
15
at
15th
level.
You
can
use
this
feature
three
times,
and
you
regain
all
expended
uses
of
it
when
you
finish
a
long
rest.
ELEGANT
COURTIER
Starting
at
7th
level,
your
discipline
and
attention
to
de—
tail
allow
you
to
excel
in
social
situations.
Whenever
you
make
a
Charisma
(Persuasion)
check,
you
gain
a
bonus
to
the
check
equal
to
your
Wisdom
modifier.
Your
self-control
also
causes
you
to
gain
proficiency
in
Wisdom
saving
throws.
If
you
already
have
this
pro-
ficiency,
you
instead
gain
proficiency
in
Intelligence
or
Charisma
saving
throws
(your
choice).
TIRELEss
SPIRIT
Starting
at
10th
level,
when
you
roll
initiative
and
have
no
uses
of
Fighting
Spirit
remaining,
you
re-
gain
one
use.
RAPID
STRIKE
Starting
at
15th
level,
you
learn
to
trade
accuracy
for
swift
strikes.
If
you
take
the
Attack
action
on
your
turn
and
have
advantage
on
an
attack
roll
against
one
of
the
targets,
you
can
forgo
the
advantage
for
that
roll
to
make
an
additional
weapon
attack
against
that
target,
as
part
of
the
same
action.
You
can
do
so
no
more
than
once
per
turn.‘
STRENGTH
BEFORE
DEATH
Starting
at
18th
level,
your
fighting
spirit
can
delay
the
grasp
of
death.
If
you
take
damage
that
reduces
you
to
0
hit
points
and
doesn’t
kill
you
outright,
you
can
use
your
reaction
to
delay
falling
unconscious,
and
you
can
immediately
take
an
extra
turn,
interrupting
the
current
turn.
While
you
have
0
hit
points
during
that
extra
turn,
taking
damage
causes
death
saving
throw
failures
as
normal,
and
three
death
saving
throw
failures
can
still
kill
you.
When
the
extra
turn
ends,
you
fall
unconscious
ifyou
still
have
0
hit
points.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
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3
MONK
DO
NOT
MISTAKE
MY
SILENCE
FOR
ACCEPTANCE
OF
YOUR
uillainy.
Whileyou
blustered
and
threatened,
I’ve
planned
four
difierent
ways
to
snapyour
neck
with
my
bare
hands.
—Ember,
grand
master
of
flowers
Monks
walk
a
path
of
contradiction.
They
study
their
art
as
a
wizard
does,
and
like
a
wizard,
they
wear
no
armor
and
typically
eschew
weapons.
Yet
they
are
deadly
com-
batants,
their
abilities
on
a
par
with
those
of
a
raging
barbarian
or
a
superbly
trained
fighter.
Monks
embrace
this
seeming
contradiction,
for
it
speaks
to
the
core
of
all
monastic
study.
By
coming
to
know
oneself
com—
pletely,
one
learns
much
of
the
wider
world.
A
monk’s
focus
on
inner
mastery
leads
many
such
individuals
to
become
detached
from
society,
more
con—
cerned
with
their
personal
experience
than
with
hap-
penings
elsewhere.
Adventuring
monks
are
a
rare
breed
of
an
already
rare
type
of
character,
taking
their
quest
for
perfection
beyond
the
walls
of
the
monastery
into
the
world
at
large.
Playing
a
monk
character
offers
many
intriguing
op—
portunities
to
try
something
different.
To
distinguish
your
monk
character
even
further,
consider
the
options
in
the
sections
that
follow.
MONA
STE
RY
A
monk
studies
in
a
monastery
in
preparation
for
a
life
of
asceticism.
Most
of
those
who
enter
a
monastery
make
it
their
home
for
the
rest
of
their
lives,
with
the
exception
of
adventurers
and
others
who
have
reason
to
leave.
For
those
individuals,
a
monastery
might
serve
as
a
refuge
between
excursions
to
the
world
or
as
a
source
of
support
in
times
of
need.
What
sort
of
place
was
your
monastery,
and
where
is
it
located?
Did
attending
it
contribute
to
your
experience
in
an
unusual
or
distinctive
way?
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Monastery
1
Your
monastery
is
carved
out
ofa
mountainside,
where
it
looms
over
a
treacherous
pass.
2
Your
monastery
is
high
in
the
branches
ofan
im-
mense
tree
in
the
Feywild.
3
Your
monastery
was
founded
long
ago
by
a
cloud
giant
and
is
inside
a
cloud
castle
that
can
be
reached
only
by
flying.
4
Your
monastery
is
built
beside
a
volcanic
system
of
hot
springs,
geysers,
and
sulfur
pools.
You
regu-
larly
received
visits
from
azer
traders.
5
Your
monastery
was
founded
by
gnomes
and
is
an
underground
labyrinth
oftunnels
and
rooms.
6
Your
monastery
was
carved
from
an
iceberg
in
the
frozen
reaches
ofthe
world.
MONASTIC
ICON
Even
in
the
monastic
lifestyle,
which
eschews
materi—
alism
and
personal
possessions,
symbolism
plays
an
important
part
in
defining
the
identity
of
an
order.
Some
monastic
orders
treat
certain
creatures
with
special
regard,
either
because
the
creature
is
tied
to
the
orders
history
or
because
it
serves
as
an
example
of
a
quality
the
monks
seek
to
emulate.
If
your
character’s
monastery
had
a
special
icon,
you
might
wear
a
crude
image
of
the
creature
somewhere
inconspicuous
on
your
clothing
to
serve
as
an
identify-
ing
mark.
Or
perhaps
your
order’s
icon
does
not
have
a
physical
form
but
is
expressed
through
a
gesture
or
a
posture
that
you
adopt,
and
which
other
monks
might
know
how
to
interpret.
MONASTIC
Icons
d6
Icon
1
Monkey.
Quick
reflexes
and
the
ability
to
travel
through
the
treetops
are
two
ofthe
reasons
why
your
order
admires
the
monkey.
2
Dragon
Turtle.
The
monks
ofyour
seaside
mon-
astery
venerate
the
dragon
turtle,
reciting
ancient
prayers
and
offering
garlands
offlowers
to
honor
this
living
spirit
ofthe
sea.
3
Ki-rin.
Your
monastery
sees
its
main
purpose
as
watching
over
and
protecting
the
land
in
the
man-
ner
ofthe
ki-rin.
4
Owlbear.
The
monks
ofyour
monastery
revere
a
family
of
owlbears
and
have
coexisted
with
them
for
generations.
5
Hydra.
Your
order
singles
out
the
hydra
for
its
abil-
ity
to
unleash
several
attacks
simultaneously.
6
Dragon.
A
dragon
once
laired
within
your
monas-
tery.
Its
influence
remains
long
after
its
departure.
..—...—___....._.--—_._
LEFT
To
QIGHTZ
URUNKEN
MASTER,
KENSEI,
AND
SUN
SOUL
MASTER
During
your
studies,
you
were
likely
under
the
tutelage
of
a
master
who
imparted
to
you
the
precepts
of
the
order.
Your
master
was
the
one
most
responsible
for
shaping
your
understanding
of
the
martial
arts
and
your
attitude
toward
the
world.
What
sort
of
person
was
your
master,
and
how
did
your
relationship
with
your
master
aflhctyou?
MASTERS
d6
Master
1
Your
master
was
a
tyrant
whom
you
had
to
defeat
in
single
combat
to
complete
your
instruction.
2
Your
master
was
kindly
and
taught
you
to
pursue
the
cause
of
peace.
3
Your
master
was
merciless
in
pushing
you
to
your
limits.
You
nearly
lost
an
eye
during
one
especially
brutal
practice
session.
4
Your
master
seemed
goodhearted
while
tutoring
you,
but
betrayed
your
monastery
in
the
end.
5
Your
master
was
cold
and
distant.
You
suspect
that
the
two
ofyou
might
be
related.
6
Your
master
was
kind
and
generous,
never
critical
ofyour
progress.
Nevertheless,
you
feel
you
never
fully
lived
up
to
the
expectations
placed
on
you.
MONASTIC
TRADITIONS
At
3rd
level,
a
monk
gains
the
Monastic
Tradition
fea—
ture.
The
following
options
are
available
to
a
monk,
in
addition
to
those
offered
in
the
Player’s
Handbook:
the
Way
of
the
Drunken
Master,
the
Way
of
the
Kensei,
and
the
Way
of
the
Sun
Soul.
WAY
OF
THE
DRUNKEN
MASTER
The
Way
of
the
Drunken
Master
teaches
its
students
to
move
with
the
jerky,
unpredictable
movements
of
a
drunkard.
A
drunken
master
sways,
tottering
on
unsteady
feet,
to
present
what
seems
like
an
incompe-
tent
combatant
who
proves
frustrating
to
engage.
The
drunken
master’s
erratic
stumbles
conceal
a
carefully
executed
dance
of
blocks,
parries,
advances,
attacks,
and
retreats.
A
drunken
master
often
enjoys
playing
the
fool
to
bring
gladness
to
the
despondent
or
to
demonstrate
humility
to
the
arrogant,
but
when
battle
is
joined,
the
drunken
master
can
be
a
maddening,
masterful
foe.
WAY
or
THE
DRUNKEN
MASTER
FEATURES
Monk
Level
Feature
3rd
Bonus
Proficiencies,
Drunken
Technique
6th
Tipsy
Sway
'l'lth
Drunkard's
Luck
17th
Intoxicated
Frenzy
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BONUS
PROFICIENCIES
When
you
choose
this
tradition
at
3rd
level,
you
gain
proficiency
in
the
Performance
skill
if
you
don’t
already
have
it.
Your
martial
arts
technique
mixes
combat
train-
ing
with
the
precision
of
a
dancer
and
the
antics
of
a
jester.
You
also
gain
proficiency
with
brewer’s
supplies
if
you
don’t
already
have
it.
DRUNKEN
TECHNIQUE
At
3rd
level,
you
learn
how
to
twist
and
turn
quickly
as
part
of
your
Flurry
of
Blows.
Whenever
you
use
Flurry
of
Blows,
you
gain
the
benefit
of
the
Disengage
action,
and
your
walking
speed
increases
by
10
feet
until
the
end
of
the
current
turn.
TIPSY
SWAY
Starting
at
6th
level,
you
can
move
in
sudden,
swaying
ways.
You
gain
the
following
benefits.
Leap
to
Your
Feet.
When
you’re
prone,
you
can
stand
up
by
spending
5
feet
of
movement,
rather
than
half
your
speed.
Redirect
Attack.
When
a
creature
misses
you
with
a
melee
attack
roll,
you
can
spend
1
ki
point
as
a
re-
action
to
cause
that
attack
to
hit
one
creature
of
your
choice,
other
than
the
attacker,
that
you
can
see
within
5
feet
of
you.
DRUNKARD’S
LUCK
Starting
at
llth
level,
you
always
seem
to
get
a
lucky
bounce
at
the
right
moment.
When
you
make
an
ability
check,
an
attack
roll,
or
a
saving
throw
and
have
disad-
vantage
on
the
roll,
you
can
spend
2
ki
points
to
cancel
the
disadvantage
for
that
roll.
INTOXICATED
FRENZY
At
17th
level,
you
gain
the
ability
to
make
an
overwhelm-
ing
number
of
attacks
against
a
group
of
enemies.
When
you
use
your
Flurry
of
Blows,
you
can
make
up
to
three
additional
attacks
with
it
(up
to
a
total
of
five
Flurry
of
Blows
attacks),
provided
that
each
Flurry
of
Blows
at-
tack
targets
a
different
creature
this
turn.
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WAY
or
THE
KENSEI
Monks
of
the
Way
of
the
Kensei
train
relentlessly
with
their
weapons,
to
the
point
where
the
weapon
becomes
an
extension
of
the
body.
Founded
on
a
mastery
of
sword
fighting,
the
tradition
has
expanded
to
include
many
different
weapons.
A
kensei
sees
a
weapon
in
much
the
same
way
a
cal-
ligrapher
or
painter
regards
a
pen
or
brush.
Whatever
the
weapon,
the
kensei
views
it
as
a
tool
used
to
express
the
beauty
and
precision
of
the
martial
arts.
That
such
mastery
makes
a
kensei
a
peerless
warrior
is
but
a
side
effect
of
intense
devotion,
practice,
and
study.
WAY
OF
THE
KENSEI
FEATURES
Monk
Level
Feature
3rd
Path
ofthe
Kensei
(2
weapons)
6th
One
with
the
Blade,
Path
ofthe
Kensei
(3
weapons)
llth
Sharpen
the
Blade,
Path
ofthe
Kensei
(4
weapons)
17th
Unerring
Accuracy,
Path
ofthe
Kensei
(5
weapons)
PATH
or
THE
KENSEI
When
you
choose
this
tradition
at
3rd
level,
your
spe-
cial
martial
arts
training
leads
you
to
master
the
use
of
certain
weapons.
This
path
also
includes
instruction
in
the
deft
strokes
of
calligraphy
or
painting.
You
gain
the
following
benefits.
Kensei
Weapons.
Choose
two
types
of
weapons
to
be
your
kensei
weapons:
one
melee
weapon
and
one
ranged
weapon.
Each
of
these
weapons
can
be
any
sim-
ple
or
martial
weapon
that
lacks
the
heavy
and
special
properties.
The
longbow
is
also
a
valid
choice.
You
gain
proficiency
with
these
weapons
if
you
don’t
already
have
it.
Weapons
of
the
chosen
types
are
monk
weapons
for
you.
Many
of
this
tradition’s
features
work
only
with
your
kensei
weapons.
When
you
reach
6th,
11th,
and
1'7th
level
in
this
class.
you
can
choose
another
type
of
weapon—either
melee
or
ranged—to
be
a
kensei
weapon
for
you.
following
the
criteria
above.
Agile
Parry.
If
you
make
an
unarmed
strike
as
part
of
the
Attack
action
on
your
turn
and
are
holding
a
kensei
weapon,
you
can
use
it
to
defend
yourself
if
it
is
a
melee
weapon.
You
gain
a
+2
bonus
to
AC
until
the
start
of
your
next
turn,
while
the
weapon
is
in
your
hand
and
you
aren't
incapacitated.
Kensei’s
Shot.
You
can
use
a
bonus
action
on
your
turn
to
make
your
ranged
attacks
with
a
kensei
weapon
more
deadly.
When
you
do
so,
any
target
you
hit
with
a
ranged
attack
using
a
kensei
weapon
takes
an
extra
1d4
damage
of
the
weapons
type.
You
retain
this
benefit
un—
til
the
end
of
the
current
turn.
Way
ofthe
Brush.
You
gain
proficiency
with
your
choice
of
calligrapher's
supplies
or
painter's
supplies.
ONE
WITH
THE
BLADE
At
6th
level,
you
extend
your
ki
into
your
kensei
weap-
ons,
granting
you
the
following
benefits.
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Magic
Kenser'
Weapons.
Your
attacks
with
your
ken~
sei
weapons
count
as
magical
for
the
purpose
of
over-
coming
resistance
and
immunity
to
nonmagical
attacks
and
damage.
Deft
Strike.
When
you
hit
a
target
with
a
kensei
weapon,
you
can
spend
1
ki
point
to
cause
the
weapon
to
deal
extra
damage
to
the
target
equal
to
your
Martial
Arts
die.
You
can
use
this
feature
only
once
on
each
of
yourturns.
SHARPEN
THE
BLADE
At
11th
level,
you
gain
the
ability
to
augment
your
weap-
ons
further
with
your
ki.
As
a
bonus
action,
you
can
expend
up
to
3
ki
points
to
grant
one
kensei
weapon
you
touch
a
bonus
to
attack
and
damage
rolls
when
you
attack
with
it.
The
bonus
equals
the
number
of
ki
points
you
spent.
This
bonus
lasts
for
1
minute
or
until
you
use
this
feature
again.
This
feature
has
no
effect
on
a
magic
weapon
that
already
has
a
bonus
to
attack
and
damage
rolls.
UNERRING
ACCURACY
At
17th
level,
your
mastery
of
weapons
grants
you
ex-
traordinary
accuracy.
If
you
miss
with
an
attack
roll
using
a
monk
weapon
on
your
turn,
you
can
reroll
it.
You
can
use
this
feature
only
once
on
each
of
your
turns.
WAY
OF
THE
SUN
SOUL
Monks
of
the
Way
of
the
Sun
Soul
learn
to
channel
their
life
energy
into
searing
bolts
of
light.
They
teach
that
meditation
can
unlock
the
ability
to
unleash
the
indomi-
table
light
shed
by
the
soul
of
every
living
creature.
WAY
OF
THE
SUN
SOUL
FEATURES
Monk
Level
Feature
3rd
Radiant
Sun
Bolt
6th
Searing
Arc
Strike
'Ilth
Searing
Sunburst
17th
Sun
Shield
RADIANT
SUN
BOLT
Starting
when
you
Choose
this
tradition
at
3rd
level,
you
can
hurl
searing
bolts
of
magical
radiance.
You
gain
a
new
attack
option
that
you
can
use
with
the
Attack
action.
This
special
attack
is
a
ranged
spell
attack
with
a
range
of
30
feet.
You
are
proficient
with
it,
and
you
add
your
Dexterity
modifier
to
its
attack
and
damage
rolls.
Its
damage
is
radiant,
and
its
damage
die
is
a
d4.
This
die
changes
as
you
gain
monk
levels,
as
shown
in
the
Martial
Arts
column
of
the
Monk
table.
When
you
take
the
Attack
action
on
your
turn
and
use
this
special
attack
as
part
of
it,
you
can.
spend
1
ki
point
to
make
the
special
attack
twice
as
a
bonus
action.
.
ni-
x.
i.
When
you
gain
the
Extra
Attack
feature,
this
special
attack
can
be
used
for
any
of
the
attacks
you
make
as
part
of
the
Attack
action.
SEARING
ARC
STRIKE
At
6th
level,
you
gain
the
ability
to
channel
your
ki
into
searing
waves
of
energy.
Immediately
after
you
take
the
Attack
action
on
your
turn,
you
can
spend
2
ki
points
to
cast
the
burning
hands
spell
as
a
bonus
action.
You
can
spend
additional
ki
points
to
cast
burning
hands
as
a
higher-level
spell.
Each
additional
ki
point
you
spend
increases
the
spell’s
level
by
1.
The
maximum
number
of
ki
points
(2
plus
any
additional
points)
that
you
can
spend
on
the
spell
equals
half
your
monk
level.
SEARING
SUNBURST
At
11th
level,
you
gain
the
ability
to
create
an
orb
of
light
that
erupts
into
a
devastating
explosion.
As
an
action,
you
magically
create
an
orb
and
hurl
it
at
a
point
you
choose
within
150
feet,
where
it
erupts
into
a
sphere
of
radiant
light
for
a
brief
but
deadly
instant.
Each
creature
in
that
20—foot-radius
sphere
must
suc-
ceed
on
a
Constitution
saving
throw
or
take
2d6
radiant
damage.
A
creature
doesn’t
need
to
make
the
save
if
the
creature
is
behind
total
cover
that
is
opaque.
You
can
increase
the
spheres
damage
by
spending
ki
points.
Each
point
you
spend,
to
a
maximum
of
3,
in-
creases
the
damage
by
2d6.
SUN
SHIELD
At
17th
level,
you
become
wreathed
in
a
luminous,
mag-
ical
aura.
You
shed
bright
light
in
a
30-foot
radius
and
dim
light
for
an
additional
30
feet.
You
can
extinguish
or
restore
the
light
as
a
bonus
action.
If
a
creature
hits
you
with
a
melee
attack
while
this
light
shines,
you
can
use
your
reaction
to
deal
radiant
damage
to
the
creature.
The
radiant
damage
equals
5
+
your
Wisdom
modifier.
Ou.
Coh'l’.
it!
ill:
or
So
L‘Om
bout
Unis
soul.
1.0c
t1
Lowil/t
11:.
Ami
Ninth
quot
All,
this
ihuiiiloli
LhihS
I
or;
Lo
5,
elect
blag.
Econ-L.
5.1L
UGUIS
L‘OULF
loOAIa‘
GINA
3
7
final
exam
vow
JCl/itt
\w
drama.
(.3:
("H
-‘-.l"i'liit
l
1.
i1
‘1'5-3-“7'3'ER
t'!}"'_:_it_'li~.'2-
.-
-
i'
._
PALADIN
THE
TRUE
WORTH
OF
A
PALADIN
Is
MEASURED
NOT
IN
foes
defeated
or
dungeons
plundered.
It
is
measured
in
lives
saved
and
hearts
turned
to
the
causes
of
mercy
and
justice.
—Isteva1
A
paladin
is
a
living
embodiment
of
an
oath—a
promise
or
a
vow
made
manifest
in
the
person
of
a
holy
warrior
who
has
the
skill
and
the
determination
to
see
the
cause
through
to
the
end.
Some
paladins
devote
themselves
expressly
to
protecting
the
innocent
and
spreading
jus-
tice
in
the
world,
while
others
resolve
to
attain
that
goal
by
conquering
those
who
stand
defiant
and
bringing
them
under
the
rule
of
law.
Although
no
paladin
in
the
world
could
be
described
as
typical,
a
number
of
them
are
narrow—minded
do—gooders
who
refuse
to
tolerate
even
the
smallest
deviation
from
their
own
outlook.
Paladins
who
take
up
the
adventuring
life,
however,
rarely
remain
so
rigid
in
their
attitudes—if
only
to
keep
from
alienating
their
companions.
You
can
flesh
out
your
paladin
character
by
using
the
suggestions
below.
It’s
important
to
keep
in
mind
that
most
paladins
aren’t
robots.
They
have
doubts
and
prej-
udices
and
harbor
contradictory
thoughts
just
as
any
other
character
does.
Some
are
compelled
by
an
inter—
nal
motivation
that
might
sometimes
be
at
odds
with
the
principles
of
their
oaths.
PERSONAL
GOAL
The
precepts
of
a
paladin’s
oath
provide
purpose
to
the
character
and
dictate
an
ultimate
goal
or
an
overall
in—
tent
that
the
paladin
abides
by
and
advances.
Aside
from
that,
some
paladins
are
driven
by
a
personal
goal
that
either
complements
or
transcends
the
dictates
of
their
oaths.
Paladins
who
swear
different
oaths
might
have
the
same
personal
goal,
differing
only
in
how
they
apply
that
goal
to
their
actions
when
upholding
their
oaths.
If
your
paladin
character
has
a
personal
goal,
it
might
be
drawn
from
some
life
event
and
thus
not
directly
tied
to
the
oath.
_
'_'r"i
‘
:_-
Iii-1'”.
LiuivxS
u.“
‘lLO
Cain
Oqlzl/i?
VllllfiL
Sow-“6&5
ridifimlooni.
[All/lay
Herald
fihclflht
truer
A0
U/tq-lz?
’llaerrls
holcl/iihs
HrOhS
wild/1
wqhiht‘
Crawls”,
Ladle
«unit1
iwtluri
Lute
L
hm.
Q
PERSONAL
GOALS
d6
Goal
1
Peace.
You
fight
so
that
future
generations
will
not
have
to.
2
Revenge.
Your
oath
is
the
vehicle
through
which
you
will
right
an
ancient
wrong.
3
Duty.
You
will
live
up
to
what
you
have
sworn
to
do,
or
die
trying.
4
Leadership.
You
will
win
a
great
battle
that
bards
will
sing
about,
and
in
so
doing,
you
will
become
an
example
to
inspire
others.
5
Faith.
You
know
your
path
is
righteous,
or
else
the
gods
would
not
have
set
you
upon
it.
6
Glory.
You
will
lead
the
world
into
a
grand
new
era,
one
that
will
be
branded
with
your
name.
SYMBOL
Paladins
are
mindful
of
the
influence
of
symbols,
and
many
of
them
adopt
or
design
an
artistic
device
that
bears
a
distinctive
image.
Your
symbol
exemplifies
the
oath
you
have
taken
and
communicates
that
message
to
those
around
you,
friend
and
foe
alike.
Your
symbol
might
be.
displayed
on
a
banner,
a
flag,
or
your
clothing
for
all
to
see.
Or
it
could
be
less
obvious,
such
as
a
trinket
or
a
token
that
you
carry
concealed
on
your
person.
SYMBOLS
d6
Symbol
l
A
dragon,
emblematic
ofyour
nobility
in
peace
and
your
ferocity
in
combat
2
A
clenched
fist,
because
you
are
always
ready
to
fight
for
your
beliefs
3
An
upraised
open
hand,
indicating
your
preference
for
diplomacy
over
combat
4
A
red
heart,
showing
the
world
your
commitment
to
justice
5
A
black
heart,
signifying
that
emotions
such
as
pity
do
not
sway
your
dedication
to
your
oath
6
An
unblinking
eye,
meaning
that
you
are
ever
alert
to
all
threats
against
your
cause
NEMESIS
Their
adherence
to
a
sacred
oath
demands
that
paladins
take
an
active
stance
in
carrying
their
beliefs
into
the
world.
This
activity
naturally
leads
to
conflict
with
crea-
tures
or
entities
that
oppose
those
beliefs.
Among
those
opponents,
one
often
stands
out
as
a
paladin’s
most
per-
sistent
or
most
formidable
foe—a
nemesis
whose
pres-
ence
or
influence
is
a
constant
factor
in
a
paladin's
life.
Your
paladin
character
might
have
an
enemy
that
dates
from
the
days
before
you
took
up
your
path.
Or
you
could
be
a
target
because
when
you
became
a
paladin,
you
immediately
attracted
the
attention
of
those
that
would
do
you
in.
If
you
have
a
nemesis,
who
or
what
is
it?
Whom
among
your
enemies
do
you
consider
to
be
the
biggest
threat
to
achieving
your
goals?
NEM
ESES
d6
Nemesis
l
A
mighty
orc
war
chiefwho
threatens
to
overrun
and
destroy
everything
you
hold
sacred
2
A
fiend
or
a
celestial,
the
agent
ofa
power
ofthe
Outer
Planes,
who
has
been
charged
with
corrupt-
ing
or
redeeming
you,
as
appropriate
3
A
dragon
whose
servants
dog
your
steps
A
high
priest
who
sees
you
as
a
misguided
fool
and
wants
you
to
abandon
your
religion
5
A
rival
paladin
who
trained
with
you
but
became
an
oath—breaker
and
holds
you
responsible
6
A
vampire
who
has
sworn
revenge
against
all
pala-
dins
after
being
defeated
by
one
TEMPTATION
Although
paladins
are
dedicated
to
their
oaths,
they
are
mortals,
and
thus
they
are
flawed.
Many
of
them
exhibit
a
type
of
behavior
or
hold
to
an
attitude
that
is
not
in
keeping
with
the
highest
ideals
of
their
calling.
What
is
the
temptation
that
your
character
succumbs
to
or
finds
it
difficult
to
resist?
TEMPTATIONS
d6
Temptation
l
Fury.
When
your
anger
is
roused,
you
have
trouble
thinking
straight,
and
you
fear
you
might
do
some-
thing
you’ll
regret.
2
Pride.
Your
deeds
are
noteworthy,
and
no
one
takes
note
ofthem
more
often
than
you.
3
Lust.
You
can't
resist
an
attractive
face
and
a
pleas-
ant
smile.
4
Envy.
You
are
mindful
ofwhat
some
famous
folk
have
accomplished,
and
you
feel
inadequate
when
your
deeds
don't
compare
to
theirs.
5
Despair.
You
consider
the
great
strength
ofthe
enemies
you
must
defeat,
and
at
times
you
see
no
way
to
achieve
final
victory.
6
Greed.
Regardless
ofhow
much
glory
and
treasure
you
amass,
it’s
never
enough
for
you.
SACRED
OATHS
At
3rd
level,
a
paladin
gains
the
Sacred
Oath
feature.
The
following
options
are
available
to
a
paladin,
in
addi—
tion
to
those
offered
in
the
Player’s
Handbook:
the
Oath
of
Conquest
and
the
Oath
of
Redemption.
PALADIN
OF
CONQUEST
OATH
OF
CONQUEST
The
Oath
of
Conquest
calls
to
paladins
who
seek
glory
in
battle
and
the
subjugation
of
their
enemies.
It
isn’t
enough
for
these
paladins
to
establish
order.
They
must
crush
the
forces
of
chaos.
Sometimes
called
knight
ty-
rants
or
iron
mongers,
those
who
swear
this
oath
gather
into
grim
orders
that
serve
gods
or
philosophies
of
war
and
well-ordered
might.
Some
of
these
paladins
go
so
far
as
to
consort
with
the
powers
of
the
Nine
Hells,
valuing
the
rule
of
law
over
the
balm
of
mercy.
The
archdevil
Bel,
warlord
of
Avernus,
counts
many
of
these
paladins—called
hell
knights—as
his
most
ardent
supporters.
Hell
knights
cover
their
armor
with
trophies
taken
from
fallen
en—
emies,
a
grim~warning
to
any
who
dare
oppose
them
and
the
decrees
of
their
lords.
These
knights
are
often
most
fiercely
resisted
by
other
paladins
of
this
oath,
who
believe
that
the
hell
knights
have
wandered
too
far
into
darkness.
TEN
ETS
or
CONQU
EST
A
paladin
who
takes
this
oath
has
the
tenets
of
conquest
seared
on
the
upper
arm.
Douse
the
Flame
of
Hope.
It
is
not
enough
to
merely
defeat
an
enemy
in
battle.
Your
victory
must
be
so
over-
whelming
that
your
enemies'
will
to
fight
is
shattered
forever.
A
blade
can
end
a
life.
Fear
can
end
an
empire.
Rule
with
an
Iron
Fist.
Once
you
have
conquered,
tolerate
no
dissent.
Your
word
is
law.
Those
who
obey
it
(optima-h
found!
COo(_
Do
a
[A
l
L]
UL
CIUK
“0
(g
U1
OLA.
lgfcqctsz
l'ur
l:
q-
Ll
"
(40%“
{or
lZl/lfi‘lt?
50
q
{Ill/l
”\‘IWH'dl
S1
[0‘
qwqtl
{of
co
lo“;
or
l/lz
(561“
GINA
l
tlé
rt;
”it
{a}
shall
be
favored.
Those
who
defy
it
shall
be
punished
as
an
example
to
all
who
might
follow.
Strength
Above
All.
You
shall
rule
until
a
stronger
one
arises.
Then
you
must
grow
mightier
and
meet
the
challenge,
or
fall
to
your
own
ruin.
OATH
or
CONQUEST
FEATURES
Paladin
Level
Feature
3rd
Oath
Spells,
Channel
Divinity
i’th
Aura
ofConquest
(10
ft.)
15th
Scornful
Rebuke
l8th
Aura
of
Conquest
(30
ft.)
20th
Invincible
Conqueror
OATH
SPELLS
You
gain
oath
spells
at
the
paladin
levels
listed
in
the
Oath
of
Conquest
Spells
table.
See
the
Sacred
Oath
class
feature
for
how
oath
spells
work.
OATH
0F
CONQUEST
SPELLS
Paladin
Level
Spells
3rd
armor
onathys,
command
5th
hold
person,
spiritual
weapon
9th
bestow
curse,
fear
13th
dominate
beast,
stoneskin
17th
cloudkill,
dominate
person
CHANNEL
DIVINITY
When
you
take
this
oath
at
3rd
level,
you
gain
the
follow—
ing
two
Channel
Divinity
options.
See
the
Sacred
Oath
class
feature
for
how
Channel
Divinity
works.
Conquering
Presence.
You
can
use
your
Channel
Divinity
to
exude
a
terrifying
presence.
As
an
action,
you
force
each
creature
of
your
choice
that
you
can
see
within
30
feet
of
you
to
make
a
Wisdom
saving
throw.
On
a
failed
save,
a
creature
becomes
frightened
of
you
for
1
minute.
The
frightened
creature
can
repeat
this
saving
throw
at
the
end
of
each
of
its
turns,
ending
the
effect
on
itself
on
a
success.
Guided
Strike.
You
can
use
your
Channel
Divinity
to
strike
with
supernatural
accuracy.
When
you
make
an
attack
roll,
you
can
use
your
Channel
Divinity
to
gain
a
+10
bonus
to
the
roll.
You
make
this
choice
after
you
see
the
roll,
but
before
the
DM
says
whether
the
attack
hits
or
misses.
AURA
or
CONQUEST
Starting
at
7th
level,
you
constantly
emanate
a
menacing
aura
while
you’re
not
incapacitated.
The
aura
extends
10
feet
from
you
in
every
direction,
but
not
through
total
cover.
If
a
creature
is
frightened
of
you,
its
speed
is
reduced
to
0
while
in
the
aura,
and
that
creature
takes
psychic
damage
equal
to
half
your
paladin
level
if
it
starts
its
turn
there.
At
18th
level,
the
range
of
this
aura
increases
to
30
feet.
SCORNFUL
REBUKE
Starting
at
15th
level,
those
who
dare
to
strike
you
are
psychically
punished
for
their
audacity.
Whenever
a
creature
hits
you
with
an
attack,
that
creature
takes
psychic
damage
equal
to
your
Charisma
modifier
(mini-
mum
of
1)
if
you’re
not
incapacitated.
INVINCIBLE
CONQUEROR
At
20th
level,
you
gain
the
ability
to
harness
extraordi-
nary
martial
prowess.
As
an
action,
you
can
magically
become
an
avatar
of
conquest,
gaining
the
following
benefits
for
1
minute:
-
You
have
resistance
to
all
damage.
-
When
you
take
the
Attack
action
on
your
turn,
you
can
make
one
additional
attack
as
part
of
that
action.
-
Your
melee
weapon
attacks
score
a
critical
hit
on
a
roll
of
19
or
20 on
the
d20.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
OATH
OF
REDEMPTION
The
Oath
of
Redemption
sets
a
paladin
on
a
difficult
path,
one
that
requires
a
holy
warrior
to
use
violence
only
as
a
last
resort.
Paladins
who
dedicate
themselves
to
this
oath
believe
that
any
person
can
be
redeemed
and
that
the
path
of
benevolence
and
justice
is
one
that
anyone
can
walk.
These
paladins
face
evil
creatures
in
the
hope
of
turning
their
foes
to
the
light,
and
they
slay
their
enemies
only
when
such
a
deed
will
clearly
save
other
lives.
Paladins
who
follow
this
path
are
known
as
redeemers.
While
redeemers
are
idealists,
they
are
no
fools.
Re—
deemers
know
that
undead,
demons,
devils,
and
other
supernatural
threats
can
be
inherently
evil.
Against
such
fees,
paladins
who
swear
this
oath
bring
the
full
wrath
of
their
weapons
and
spells
to
bear.
Yet
the
re-
deemers
still
pray
that,
one
day,
even
creatures
of
wick-
edness
will
invite
their
own
redemption.
TENETS
or
REDEMPTION
The
tenets
of
the
Oath
of
Redemption
hold
a
paladin
to
a
high
standard
of
peace
and
justice.
Peace.
Violence
is
a
weapon
of
last
resort.
Diplomacy
and
understanding
are
the
paths
to
long-lasting
peace.
Innocence.
All
people
begin
life
in
an
innocent
state,
and
it
is
their
environment
or
the
influence
of
dark
forces
that
drives
them
to
evil.
By
setting
the
proper
example,
and
working
to
heal
the
wounds
of
a
deeply
flawed
world,
you
can
set
anyone
on
a
righteous
path.
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Patience.
Change
takes
time.
Those
who
have
walked
the
path
of
the
wicked
must
be
given
reminders
to
keep
them
honest
and
true.
Once
you
have
planted
the
seed
of
righteousness
in
a
creature,
you
must
work
day
after
day
to
allow
that
seed
to
survive
and
flourish.
Wisdom.
Your
heart
and
mind
must
stay
clear,
for
eventually
you
will
be
forced
to
admit
defeat.
While
ev-
ery
creature
can
be
redeemed,
some
are
so
far
along
the
path
of
evil
that
you
have
no
choice
but
to
end
their
lives
for
the
greater
good.
Any
such
action
must
be
carefully
weighed
and
the
consequences
fully
understood,
but
once
you
have
made
the
decision,
follow
through
with
it
knowing
your
path
is
just.
OATH
OF
REDEMPTION
FEATURES
Paladin
Level
Feature
3rd
Oath
Spells.
Channel
Divinity
7th
Aura
ofthe
Guardian
(l0
ft.)
15th
Protective
Spirit
13th
Aura
ofthe
Guardian
(30
ft.)
20th
Emissary
of
Redemption
OATH
SPELLS
You
gain
oath
spells
at
the
paladin
levels
listed
in
the
Oath
of
Redemption
Spells
table.
See
the
Sacred
Oath
class
feature
for
how
oath
spells
work.
OATH
0F
REDEMPTION
SPELLS
Paladin
Level
Spells
3rd
sanctuary,
sleep
5th
cairn
emotions,
hold
person
9th
counterspell,
hypnotic
pattern
13th
Otiiuke’s
resilient
sphere,
stoneskin
l7th
hold
monster,
wall
efforce
CHANNEL
DIVINITY
When
you
take
this
oath
at
3rd
level,
you
gain
the
follow—
ing
two
Channel
Divinity
options.
Emissary
of
Peace.
You
can
use
your
Channel
Divin-
ity
to
augment
your
presence
with
divine
power.
As
a
bonus
action,
you
grant
yourself
a
+5
bonus
to
Charisma
(Persuasion)
checks
for
the
next
10
minutes.
Rebuke
the
Violent.
You
can
use
your
Channel
Divin—
ity
to
rebuke
those
who
use
violence.
Immediately
after
an
attacker
within
30
feet
of
you
deals
damage
with
an
attack
against
a
creature
other
than
you,
you
can
use
your
reaction
to
force
the
attacker
to
make
a
Wisdom
saving
throw.
On
a
failed
save,
the
attacker
takes
radiant
damage
equal
to
the
damage
it
just
dealt.
On
a
success—
ful
save,
it
takes
half
as
much
damage.
.1-1
I.—I"'Il-_"ff
PALADIN
or
QEDEMPTEON
AURA
OF
THE
GUARDIAN
Starting
at
7th
level,
you
can
shield
others
from
harm
at
the
cost
of
your
own
health.
When
a
creature
within
10
feet
of
you
takes
damage,
you
can
use
your
reaction
to
magically
take
that
damage,
instead
of
that
creature
tak—
ing
it.
This
feature
doesn't
transfer
any
other
effects
that
might
accompany
the
damage,
and
this
damage
can't
be
reduced
in
any
way.
At
18th
level,
the
range
of
this
aura
increases
to
30
feet.
PROTECTIVE
SPIRIT
Starting
at
15th
level,
a
holy
presence
mends
your
wounds
in
battle.
You
regain
hit
points
equal
to
M6
+
half
your
paladin
level
if
you
end
your
turn
in
combat
with
fewer
than
half
of
your
hit
points
remaining
and
you
aren't
incapacitated.
EMISSARY
OF
REDEMPTION
At
20th
level,
you
become
an
avatar
of
peace,
which
gives
you
two
benefits:
-
You
have
resistance
to
all
damage
dealt
by
other
crea—
tures
(their
attacks,
spells,
and
other
effects).
-
Whenever
a
creature
hits
you
with
an
attack,
it
takes
radiant
damage
equal
to
half
the
damage
you
take
from
the
attack.
If
you
attack
a
creature,
cast
a
spell
on
it,
or
deal
dam-
age
to
it
by
any
means
but
this
feature,
neither
benefit
works
against
that
creature
until
you
finish
a
long
rest.
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RANGER
I
SPEND
A
LOT
OF
MY
LIFE
AWAY
FROM
CIVILIZATION,
keeping
to
its
fringes
to
protect
it.
Don't
assume
that
be-
cause
Idon’t
bend
the
knee
toyour
hing
that
I
haven’t
done
more
to
protect
him
than
all
his
knights
put
together.
—Soveliss
Rangers
are
free—minded
wanderers
and
seekers
who
patrol
the
edges
of
civilized
territory,
turning
back
the
denizens
of
the
wild
lands
beyond.
It
is
a
thankless
job,
since
their
efforts
are
rarely
understood
and
almost
never
rewarded.
Yet
rangers
persist
in
their
duties,
never
doubting
that
their
work
makes
the
world
a
safer
place.
A
relationship
with
civilization
informs
every
ranger’s
personality
and
history.
Some
rangers
see
themselves
as
enforcers
of
the
law
and
bringers
of
justice
on
civili-
zation’s
frontier,
answering
to
no
sovereign
power.
Oth-
ers
are
survivalists
who
eschew
civilization
altogether.
They
vanquish
monsters
to
keep
themselves
safe
while
they
live
in
and
travel
through
the
perilous
wild
areas
of
the
world.
If
their
efforts
also
benefit
the
kingdoms
and
other
civilized
realms
that
they
avoid,
so
be
it.
If
you’re
creating
or
playing
a
ranger
character,
the
following
sections
offer
ideas
for
embellishing
the
char—
acter
and
enhancing
your
roleplaying
experience.
VIEW
OF
THE
WORLD
A
ranger’s
view
of
the
world
begins
(and
sometimes
ends)
with
that
character’s
outlook
toward
civilized
folk
and
the
places
they
occupy.
Some
rangers
have
an
atti-
tude
toward
civilization
that’s
deeply
rooted
in
disdain,
while
others
pity
the
people
they
have
sworn
to
pro—
tect—though
on
the
battlefield,
it’s
impossible
to
tell
the
difference
between
one
ranger
and
another.
Indeed,
to
those
who
have
seen
them
operate
and
been
the
benefi-
ciaries
of
their
prowess,
it
scarcely
matters
why
rangers
do
what
they
do.
That
said,
no
two
rangers
are
likely
to
express
their
opinions
on
any
matter
in
the
same
way.
If
you
haven’t
yet
thought
about
the
details
of
your
character’s
worldview,
consider
putting
a
finer
point
on
things
by
summarizing
that
viewpoint
in
a
short
state-
ment
(such
as
the
entries
on
the
following
table).
How
might
that
feeling
affect
the
way
you
conduct
yourself?
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Q
VIEWS
OF
THE
WORLD
d6
View
1
Towns
and
cities
are
the
best
places
for
those
who
can't
survive
on
their
own.
The
advancement
ofcivilization
is
the
best
way
to
thwart
chaos,
but
its
reach
must
be
monitored.
3
Towns
and
cities
are
a
necessary
evil,
but
once
the
wilderness
is
purged
ofsupernatural
threats,
we
is.)
will
need
them
no
more.
4
Walls
are
for
cowards,
who
huddle
behind
them
while
others
do
the
work
ofmaking
the
world
safe.
5
Visiting
a
town
is
not
unpleasant,
but
after
a
few
days
|
feel
the
irresistible
call
to
return
to
the
wild.
6
Cities
breed
weakness
by
isolating
folk
from
the
harsh
lessons
ofthe
wild.
HOMELAND
All
rangers,
regardless
of
how
they
came
to
take
up
the
profession,
have
a
strong
connection
to
the
natural
world
and
its
various
terrains.
For
some
rangers,
the
wilderness
is
where
they
grew
up,
either
as
a
result
of
being
born
there
or
moving
there
at
a
young
age.
For
other
rangers,
civilization
was
originally
home,
but
the
wilderness
became
a
second
homeland.
Think
of
your
character’s
backstory
and
decide
what
terrain
feels
most
like
home,
whether
or
not
you
were
born
there.
What
does
that
terrain
say
about
your
per-
sonality?
Does
it
influence
which
spells
you
choose
to
learn?
Have
your
experiences
there
shaped
who
your
favored
enemies
are?
HOMELANDS
d6
Homeland
1
You
patrolled
an
ancient
forest,
darkened
and
cor-
rupted
by
several
crossings
to
the
Shadowfell.
2
As
part
ofa
group
of
nomads,
you
acquired
the
skills
for
surviving
in
the
desert.
3
Your
early
life
in
the
Underdark
prepared
you
for
the
challenges
ofcornbating
its
denizens.
4
You
dwelled
on
the
edge
ofa
swamp,
in
an
area
im-
periled
by
land
creatures
as
well
as
aquatic
ones.
5
Because
you
grew
up
among
the
peaks,
finding
the
best
path
through
the
mountains
is
second
nature
to
you.
6
You
wandered
the
far
north,
learning
how
to
pro-
tect
yourselfand
prosper
in
a
realm
overrun
by
ice.
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LEFT
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l‘lORIlON
WALKER.
MONSTER
SLAYER.
AND
GLoom
STALKER
SWORN
ENEMY
Every
ranger
begins
with
a
favored
enemy
(or
two).
The
determination
of
a
favored
enemy
might
be
tied
to
a
specific
event
in
the
character’s
early
life,
or
it
might
be
entirely
a
matter
of
choice.
What
spurred
your
character
to
select
a
particular
enemy?
Was
the
choice
made
because
of
tradition
or
on-
riosity,
or
do
you
have
a
grudge
to
settle?
SwoaN
ENEMIES
d6
Enemy
1
You
seek
revenge
on
nature’s
behalfforthe
great
transgressions
your
foe
has
committed.
2
Your
forebears
or
predecessors
fought
these
crea-
tures,
and
so
shall
you.
3
You
hear
no
enmity
toward
your
foe.
You
stalk
such
creatures
as
a
hunter
tracks
down
a
wild
animal.
4
You
find
your
foe
fascinating,
and
you
collect
books
oftales
and
history
concerning
it.
5
You
collect
tokens
ofyour
fallen
enemies
to
remind
you
ofeach
kill.
6
You
respect
your
chosen
enemy,
and
you
see
your
battles
as
a
test
of
respective
skills.
RANGER
ARCHETYPES
At
3rd
level,
a
ranger
gains
the
Ranger
Archetype
fea-
..
ture.
The
following
options
are
available
to
a
ranger,
i;
in
addition
to
those
offered
in
the
Player’s
Handbook:
the
Gloom
Stalker,
the
Horizon
Walker,
and
the
Mon-
ster
Slayer.
GLOOM
STALKER
Gloom
Stalkers
are
at
home
in
the
darkest
places:
1
deep
under
the
earth,
in
gloomy
alleyways,
in
primeval
forests,
and
wherever
else
the
light
dims.
Most
folk
enter
such
places
with
trepidation,
but
a
Gloom
Stalker
ventures
boldly
into
the
darkness,
seeking
to
ambush
.
threats
before
they
can
reach
the
broader
world.
Such
i
rangers
are
often
found
in
the
Underdark,
but
they
will
3
go
any
place
Where
evil
lurks
in
the
shadows.
|
l
|
|
GLOOM
STALKER
FEATURES
*
Ranger
Level
Feature
3rd
Gloom
Stalker
Magic,
Dread
Ambusher,
__fl
_.
Umbral
Sight
xix-$511“:
7th
Iron
Mind
f-
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11th
Stalker’s
Flurry
l/
[ls
15th
Shadowy
Dodge
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Q
GLOOM
STALKER
MAGIC
Starting
at
3rd
level,
you
learn
an
additional
spell
when
you
reach
certain
levels
in
this
class,
as
shown
in
the
Gloom
Stalker
Spells
table.
The
spell
counts
as
a
ranger
spell
for
you,
but
it
doesn't
count
against
the
number
of
ranger
spells
you
know.
GLOOM
STALKER
SPELLS
Ranger
Level
Spell
3rd
disguise
self
5th
rope
trick
9th
fear
13th
greater
invisibility
17th
seeming
DREAD
AMBUSHER
At
3rd
level,
you
master
the
art
of
the
ambush.
You
can
give
yourself
a
bonus
to
your
initiative
rolls
equal
to
your
Wisdom
modifier.
At
the
start
of
your
first
turn
Of
each
combat,
your
walking
speed
increases
by
10
feet,
which
lasts
until
the
end
of
that
turn.
If
you
take
the
Attack
action
on
that
turn,
you
can
make
one
additional
weapon
attack
as
part
of
that
action.
If
that
attack
hits,
the
target
takes
an
extra
1d8
damage
of
the
weapons
damage
type.
UMBRAL
SIGHT
At
3rd
level,
you
gain
darkvision
out
to
a
range
of
60
'
feet.
If
you
already
have
darkvision
from
your
race,
its
range
increases
by
30
feet.
You
are
also
adept
at
evading
creatures
that
rely
on
darkvision.
While
in
darkness,
you
are
invisible
to
any
creature
that
relies
on
darkvision
to
see
you
in
that
darkness.
IRON
MIND
By
7th
level,
you
have
honed
your
ability
to
resist
the
mind—altering
powers
of
your
prey.
You
gain
proficiency
in
Wisdom
saving
throws.
Ifyou
already
have
this
pro-
ficiency,
you
instead
gain
proficiency
in
Intelligence
or
Charisma
saving
throws
(your
choice).
STALKER’S
FLURRY
At
11th
level,
you
learn
to
attack
with
such
unexpected
speed
that
you
can
turn
a
miss
into
another
strike.
Once
on
each
of
your
turns
when
you
miss
with
a
weapon
at-
tack,
you
can
make
another
weapon
attack
as
part
of
the
same
action.
I.
.-.H
i.
lis‘x
l’Tl-
5-1
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:
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“POI—[Diva
I
SHADOWY
DODGE
Starting
at
15th
level,
you
can
dodge
in
unforeseen
ways,
with
wisps
of
supernatural
shadow
around
you.
Whenever
a
creature
makes
an
attack
roll
against
you
and
doesn’t
have
advantage
on
the
roll,
you
can
use
your
reaction
to
impose
disadvantage
on
it.
You
must
use
this
feature
before
you
know
the
outcome
of
the
attack
roll.
HORIZON
WALKER
Horizon
Walkers
guard
the
world
against
threats
that
originate
from
other
planes
or
that
seek
to
ravage
the
mortal
realm
with
otherworldly
magic.
They
seek
out
planar
portals
and
keep
watch
over
them,
venturing
to
the
Inner
Planes
and
the
Outer
Planes
as
needed
to
pursue
their
foes.
These
rangers
are
also
friends
to
any
forces
in
the
multiverse—especially
benevolent
dragons,
fey,
and
elementals—that
work
to
preserve
life
and
the
order
of
the
planes.
HORIZON
WALKER
FEATURES
Ranger
Level
Feature
3rd
Horizon
Walker
Magic,
Detect
Portal,
Planar
Warrior
(ld3)
7th
Ethereal
Step
llth
Distant
Strike,
Planar
Warrior
(2d8)
15th
Spectral
Defense
HORIZON
WALKER
MAGIC
Starting
at
3rd
level,
you
learn
an
additional
spell
when
you
reach
certain
levels
in
this
class,
as
shown
in
the
Horizon
Walker
Spells
table.
The
spell
counts
as
a
ranger
spell
for
you,
but
it
doesn’t
count
against
the
number
of
ranger
spells
you
know.
HORIZON
WALKER
SPELLS
Ranger
Level
Spell
3rd
protectionfrom
evil
and
good
5th
misty
step
9th
haste
13th
banishment
17th
teleportation
circle
DETECT
PORTAL
At
3rd
level,
you
gain
the
ability
to
magically
sense
the
presence
of
a
planar
portal.
As
an
action,
you
detect
the
distance
and
direction
to
the
closest
planar
portal
within
1
mile
of
you.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
See
the
“Planar
Travel”
section
in
chapter
2
of
the
Dungeon
Master’s
Guide
for
examples
of
planar
portals.
PLANAR
WARRIOR
At
3rd
level,
you
learn
to
draw
on
the
energy
of
the
mul-
tiverse
to
augment
your
attacks.
As
a
bonus
action,
choose
one
creature
you
can
see
within
30
feet
of
you.
The
next
time
you
hit
that
creature
on
this
turn
with
a
weapon
attack,
all
damage
dealt
by
the
attack
becomes
force
damage,
and
the
creature
takes
an
extra
1d8
force
damage
from
the
attack.
When
you
reach
11th
level
in
this
class,
the
extra
damage
in-
creases
to
2d8.
ETHEREAL
STEP
At
7th
level,
you
learn
to
step
through
the
Ethereal
Plane.
As
a
bonus
action,
you
can
cast
the
etherealncss
spell
with
this
feature,
without
expending
a
spell
slot,
but
the
spell
ends
at
the
end
of
the
current
turn.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
DISTANT
STRIKE
At
11th
level,
you
gain
the
ability
to
pass
between
the
planes
in
the
blink
of
an
eye.
When
you
take
the
Attack
action,
you
can
teleport
up
to
10
feet
before
each
attack
to
an
unoccupied
space
you
can
see.
If
you
attack
at
least
two
different
creatures
with
the
action,
you
can
make
one
additional
attack
with
it
against
a
third
creature.
SPECTRAL
DEFENSE
At
15th
level,
your
ability
to
move
between
planes
enables
you
to
slip
through
the
planar
boundaries
to
lessen
the
harm
done
to
you
during
battle.
When
you
take
damage
from
an
attack,
you
can
use
your
reaction
to
give
yourself
resistance
to
all
of
that
attack’s
damage
on
this
turn.
MONSTER
SLAYER
You
have
dedicated
yourself
to
hunting
down
creatures
of
the
night
and
wielders
of
grim
magic.
A
Monster
Slayer
seeks
out
vampires,
dragons,
evil
fey,
fiends,
and
other
magical
threats.
Trained
in
supernatural
tech-
niques
to
overcome
such
monsters,
Slayers
are
experts
at
unearthing
and
defeating
mighty,
mystical
foes.
MONSTER
SLAYER
FEATURES
Ranger
Level
Feature
3rd
Monster
Slayer
Magic,
Hunter’s
Sense,
Slayer's
Prey
Tth
Supernatural
Defense
llth
Magic-User’s
Nemesis
15th
Slayer's
Counter
MONSTER
SLAYER
MAGIC
Starting
at
3rd
level,
you
learn
an
additional
spell
when
you
reach
certain
levels
in
this
class,
as
shown
in
the
Monster
Slayer
Spells
table.
The
spell
counts
as
a
ranger
spell
for
you,
but
it
doesn’t
count
against
the
number
of
ranger
spells
you
know.
MONSTER
SLAYER
SPELLS
Ranger
Level
Spell
3rd
protectionfrom
evil
and
good
5th
zone
oftrutli
9th
magic:
circle
13th
banishment
lith
hold
monster
Llou,
fined};
walla
lo
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T?
HUNTER’S
SENSE
At
3rd
level,
you
gain
the
ability
to
peer
at
a
creature
and
magically
discern
how
best
to
hurt
it.
As
an
action,
choose
one
creature
you
can
see
within
60
feet
of
you.
You
immediately
learn
whether
the
creature
has
any
damage
immunities,
resistances,
or
vulnerabilities
and
What
they
are.
If
the
creature
is
hidden
from
divination
magic,
you
sense
that
it
has
no
damage
immunities,
re—
sistances,
or
vulnerabilities.
You
can
use
this
feature
a
number
of
times
equal
to
your
Wisdom
modifier
(minimum
of
once).
You
regain
all
expended
uses
of
it
when
you
finish
a
long
rest.
SLAYER’S
PREY
Starting
at
3rd
level,
you
can
focus
your
ire
on
one
foe,
increasing
the
harm
you
inflict
on
it.
As
a
bonus
action,
you
designate
one
creature
you
can
see
within
60
feet
of
you
as
the
target
of
this
feature.
The
first
time
each
turn
that
you
hit
that
target
with
a
weapon
attack,
it
takes
an
extra
1d6
damage
from
the
weapon.
This
benefit
lasts
until
you
finish
a
short
or
long
rest.
It
ends
early
if
you
designate
a
different
creature.
SUPERNATURAL
DEFENSE
At
7th
level,
you
gain
extra
resilience
against
your
prey’s
assaults
on
your
mind
and
body.
Whenever
the
target
of
your
Slayer’s
Prey
forces
you
to
make
a
saving
throw
and
whenever
you
make
an
ability
check
to
escape
that
targets
grapple,
add
1d6
to
your
roll.
MAGIC—USER’S
NEMESIS
At
11th
level,
you
gain
the
ability
to
thwart
someone
else’s
magic.
When
you
see
a
creature
casting
a
spell
or
teleporting
within
60
feet
of
you,
you
can
use
your
reac-
tion
to
try
to
magically
foil
it.
The
creature
must
succeed
on
a
Wisdom
saving
throw
against
your
spell
save
DC,
or
its
spell
or
teleport
fails
and
is
wasted.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
SLAYER’S
COUNTER
At
15th
level,
you
gain
the
ability
to
counterattack
when
your
prey
tries
to
sabotage
you.
If
the
target
of
your
Slayd
er’s
Prey
forces
you
to
make
a
saving
throw,
you
can
use
your
reaction
to
make
one
weapon
attack
against
the
quarry.
You
make
this
attack
immediately
before
making
the
saving
throw.
If
your
attack
hits,
your
save
automatir
cally
succeeds,
in
addition
to
the
attack’s
normal
effects.
PEOPLE
FORGET
THAT
THE.
ENTIRE
POINT
OF
VENTURING
down
into
a
dusty
tomb
is
to
bring
back
the
prizes
hidden
away
there.
Fighting
isforfoois.
Dead
men
can’t
spend
theirfortunes.
—Barnabas
Bladecutter
When
brute
force
won’t
get
the
job
done,
or
when
magic
isn’t
available
or
appropriate,
the
rogue
rises
to
the
fore.
With
skills
tied
to
stealth,
subterfuge,
and
trickery,
rogues
can
get
into
and
out
of
trouble
in
ways
that
few
other
characters
can
emulate.
Some
rogues
who
turn
to
adventuring
are
former
criminals
who
have
decided
that
dodging
monsters
is
preferable
to
remaining
one
step
ahead
of
the
law.
Others
are
professional
killers
in
search
of
a
profitable
application
of
their
talents
between
contracts.
Some
simply
love
the
thrill
of
overcoming
any
challenge
that
stands
in
their
way.
On
adventures,
a
rogue
is
likely
to
mix
an
outwardly
cautious
approach—few
rogues
enjoy
combat—with
a
ravenous
hunger
for
loot.
Most
of
the
time,
in
a
rogue’s
mind,
taking
up
arms
against
a
creature
is
not
about
killing
the
creature
but
about
becoming
the
new
owner
of
its
treasure.
The
following
sections
explore
certain
facets
of
what
it
means
to
be
a
rogue,
which
you
can
use
to
add
depth
to
your
character.
GUILTY
PLEASURE
Most
of
what
rogues
do
revolves
around
obtaining
trea—
sure
and
preventing
others
from
doing
the
same.
Little
gets
in
the
way
of
attaining
those
goals,
except
that
many
rogues
are
enticed
away
from
that
path
by
a
com—
pulsion
that
clouds
their
thinking—an
irresistible
need
that
must
be
satisfied,
even
if
doing
so
is
risky.
A
rogue’s
guilty
pleasure
could
be
the
acquisition
of
a
physical
item,
something
to
be
experienced,
or
a
way
of
conducting
oneself
at
certain
times.
One
rogue
might
not
be
able
to
pass
up
any
loot
made
of
silver,
for
instance,
even
if
said
loot
is
hanging
around
the
neck
of
a
castle
guard.
Another
one
can’t
go
through
a
day
in
the
city
without
lifting
a
purse
or
two,
just
to
keep
in
practice.
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{5);
What’s
the
one
form
of
temptation
that
your
rogue
character
can’t
resist
when
the
opportunity
presents
it-
self,
even
if
giving
into
it
might
mean
trouble
for
you
and
your
companions?
GUILTY
PLEASURES
d6
Pleasure
1
Large
gems
2
A
smile
from
a
pretty
face
3
Anew
ringfor
your
finger
4
The
chance
to
deflate
someone’s
ego
5
The
finest
food
and
drink
6
Adding
to
your
collection
ofexotic
coins
ADVERSARY
Naturally,
those
who
enforce
the
law
are
bound
to
come
up
against
those
who
break
it,
and
it's
the
rare
rogue
who
isn’t
featured
on
at
least
one
wanted
poster.
Beyond
that,
it’s
in
the
nature
of
their
profession
that
rogues
often
come
into
contact
with
criminal
elements,
whether
out
of
choice
or
necessity.
Some
of
those
people
can
be
adversaries
too,
and
they’re
likely
to
be
harder
to
deal
with
than
the
average
member
of
the
city
watch.
If
your
character’s
backstory
doesn’t
already
include
a
personage
of
this
sort,
you
could
work
with
your
DM
to
come
up
with
a
reason
why
an
adversary
has
appeared
in
your
life.
Perhaps
you’ve
been
the
subject
of
scrutiny
for
a
while
from
someone
who
wants
to
use
you
for
nefarious
purposes
and
has
just
now
become
known
to
you.
Such
an
incident
could
be
the
basis
for
an
upcom-
ing
adventure.
Does
your
rogue
character
have
an
adversary
who
also
happens
to
be
a
criminal?
lfso,
how
is
this
relation-
ship
affecting
your
life?
ADVERSARIES
d6
Adversary
l
The
pirate
captain
on
whose
ship
you
once
served;
what
you
call
moving
on,
the
captain
calls
mutiny
2
A
master
spy
to
whom
you
unwittingly
fed
bad
information,
which
led
to
the
assassination
ofthe
wrong
target
3
The
master
ofthe
local
thieves'
guild,
who
wants
you
to
join
the
organization
or
leave
town
4
An
art
collector
who
uses
illegal
means
to
acquire
masterpieces
5
A
fence
who
uses
you
as
a
messenger
to
set
up
illicit
meetings
6
The
proprietor
ofan
illegal
pit
fighting
arena
where
you
once
took
bets
ll:
Leer
TD
Dream:
SvmsHBoCKLER,
Masrenmmo.
lNQUiSi-rwe,
AND
Scour
BENEFACTOR
Few
rogues
make
it
far
in
life
before
needing
someone’s
help,
which
means
thereafter
owing
that
benefactor
a
significant
debt.
If
your
character’s
backstory
doesn’t
already
include
a
personage
of
this
sort,
you
could
work
with
your
DM
to
determine
why
a
benefactor
has
appeared
in
your
life.
Perhaps
you
benefited
from
something
your
benefactor
did
for
you
without
realizing
who
was
responsible,
and
that
person
has
now
just
become
known
to
you.
Who
helped
you
in
the
past,
whether
or
not
you
knew
it
at
the
time,
and
what
do
you
owe
that
person
as
recompense?
BENEFACTORS
d6
Benefactor
i
A
smuggler
kept
you
from
getting
caught
but
lost
a
valuable
shipment
in
doing
so.
Now
you
owe
that
person
an
equally
valuable
favor.
2
The
Beggar
King
has
hidden
you
from
your
pursu-
ers
many
times,
in
return
for
future
considerations.
3
A
magistrate
once
kept
you
out
ofjail
in
return
for
information
on
a
powerful
crime
lord.
4
Your
parents
used
their
savings
to
bail
you
out
of
trouble
in
your
younger
days
and
are
now
destitute.
5
A
dragon
didn't
eat
you
when
it
had
a
chance,
and
in
return
you
promised
to
set
aside
choice
pieces
oftreasure
for
it.
6
A
druid
once
helped
you
out
ofa
tight
spot;
now
any
random
animal
you
see
could
be
that
benefac—
tor,
perhaps
come
to
claim
a
return
favor.
ROGUISH
ARCHETYPES
At
3rd
level,
a
rogue
gains
the
Roguish
Archetype
fea-
ture.
The
following
options
are
available
to
a
rogue,
in
addition
to
those
offered
in
the
Player’s
Handbook:
the
Inquisitive,
the
Mastermind,
the
Scout,
and
the
Swashbuckler.
INQUISITIVE
As
an
archetypal
Inquisitive,
you
excel
at
rooting
out
se-
crets
and
unraveling
mysteries.
You
rely
on
your
sharp
eye
for
detail,
but
also
on
your
finely
honed
ability
to
read
the
words
and
deeds
of
other
creatures
to
deter-
mine
their
true
intent.
You
excel
at
defeating
creatures
that
hide
among
and
prey
upon
ordinary
folk,
and
your
mastery
of
lore
and
your
keen
deductions
make
you
well
equipped
to
expose
and
end
hidden
evils.
lNQUISITIVE
FEATURES
Rogue
Level
Feature
3rd
Ear
for
Deceit,
Eye
for
Detail,
Insightful
Fighting
9th
Steady
Eye
13th
Unerring
Eye
17th
Eye
for
Weakness
EAR
FOR
DEGEIT
When
you
choose
this
archetype
at
3rd
level,
you
de—
velop
a
talent
for
picking
out
lies.
Whenever
you
make
a
Wisdom
(Insight)
check
to
determine
whether
a
creature
is
lying,
treat
a
roll
of
7
or
lower
on
the
c120
as
an
8.
EYE
FOR
DETAIL
Starting
at
3rd
level,
you
can
use
a
bonus
action
to
make
a
Wisdom
(Perception)
check
to
spot
a
hidden
creature
or
object
or
to
make
an
Intelligence
(Investigation)
l
check
to
uncover
or
decipher
clues.
.
INSIGHTFUL
FIGHTING
l,
1
At
3rd
level,
you
gain
the
ability
to
decipher
an
oppo-
nent's
tactics
and
develop
a
counter
to
them.
As
a
bonus
action,
you
can
make
a
Wisdom
(Insight)
check
against
a
creature
you
can
see
that
isn’t
incapacitated,
contested
by
the
target’s
Charisma
(Deception)
check.
If
you
suc—
ceed,
you
can
use
your
Sneak
Attack
against
that
target
even
if
you
don’t
have
advantage
on
the
attack
roll,
but
not
if
you
have
disadvantage
on
it.
This
benefit
lasts
for
1
minute
or
until
you
success-
fully
use
this
feature
against
a
different
target.
'.
STEADY
EYE
Starting
at
9th
level,
you
have
advantage
on
any
Wisdom
(Perception)
or
Intelligence
(Investigation)
check
if
you
move
no
more
than
half
your
speed
on
the
same
turn.
UNERRING
EYE
Beginning
at
13th
level,
your
senses
are
almost
im«
possible
to
foil.
As
an
action,
you
sense
the
presence
of
illusions,
shapechangers
not
in
their
original
form,
and
other
magic
designed
to
deceive
the
senses
within
30
feet
of
you,
provided
you
aren’t
blinded
or
deafened.
You
sense
that
an
effect
is
attempting
to
trick
you,
but
you
gain
no
insight
into
what
is
hidden
or
into
its
true
nature.
You
can
use
this
feature
a
number
of
times
equal
to
your
Wisdom
modifier
(minimum
of
once),
and
you
re-
gain
all
expended
uses
of
it
when
you
finish
a
long
rest.
EYE
FOR
WEAKNESS
At
17th
level,
you
learn
to
exploit
a
creature’s
weak—
nesses
by
carefully
studying
its
tactics
and
movement.
While
your
Insightful
Fighting
feature
applies
to
a
crea-
ture,
your
Sneak
Attack
damage
against
that
creature
increases
by
3d6.
MASTERMIND
Your
focus
is
on
people
and
on
the
influence
and
secrets
they
have.
Many
spies,
courtiers,
and
schemers
follow
this
archetype,
leading
lives
of
intrigue.
Words
are
your
weapons
as
often
as
knives
or
poison,
and
secrets
and
favors
are
some
of
your
favorite
treasures.
MASTERMIND
FEATURES
..y
Rogue
Level
Feature
__'
3rd
Master
of
Intrigue,
Master
ofTactics
in};
__
9th
Insightful
Manipulator
-‘i-‘-:_'\
. .
.
“~._
13th
Misdtrectlon
17th
Soul
of
Deceit
o
is
C1
oln.
(w.
v
m
V“
I
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iwL
Slfilrwlhlt
arvmmlx
lam1
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w
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uh:
‘1
qlur
Aoalwg
or
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flout.
rt
l
w
l0
a
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qlctr
Ache-s
b1.
0,
L1
U»
MASTER
OF
INTRIGUE
When
you
choose
this
archetype
at
3rd
level,
you
gain
proficiency
with
the
disguise
kit,
the
forgery
kit,
and
one
gaming
set
Of
your
choice.
You
also
learn
two
languages
of
your
choice.
Additionally,
you
can
unerringly
mimic
the
speech
patterns
and
accent
of
a
creature
that
you
hear
speak
for
at
least
1
minute,
enabling
you
to
pass
yourself
off
as
a
native
speaker
of
a
particular
land,
provided
that
you
know
the
language.
MASTER
OF
TACTICS
Starting
at
3rd
level,
you
can
use
the
Help
action
as
a
bonus
action.
Additionally,
when
you
use
the
Help
action
to
aid
an
ally
in
attacking
a
creature,
the
target
of
that
attack
can
be
within
30
feet
of
you,
rather
than
within
5
feet
of
you,
if
the
target
can
see
or
hear
you.
INSIGHTFUL
MANIPULATOR
Starting
at
9th
level,
if
you
spend
at
least
1
minute
observing
or
interacting
with
another
creature
outside
combat,
you
can
learn
certain
information
about
its
ca—
pabilities
compared
to
your
own.
The
DM
tells
you
if
the
creature
is
your
equal,
superior,
or
inferior
in
regard
to
two
of
the
following
characteristics
of
your
choice:
-
Intelligence
score
-
Wisdom
score
-
Charisma
score
.
Class
levels
(if
any)
At
the
DM’s
option,
you
might
also
realize
you
know
a
piece
of
the
creature’s
history
or
one
of
its
personality
traits,
if
it
has
any.
MISDIRECTION
Beginning
at
13th
level,
you
can
sometimes
cause
an-
other
creature
to
suffer
an
attack
meant
for
you.
When
you
are
targeted
by
an
attack
while
a
creature
within
5
feet
of
you
is
granting
you
cover
against
that
attack,
you
can
use
your
reaction
to
have
the
attack
target
that
crea—
ture
instead
of
you.
SOUL
OF
DECEIT
Starting
at
17th
level,
your
thoughts
can’t
be
read
by
telepathy
or
other
means,
unless
you
allow
it.
You
can
present
false
thoughts
by
succeeding
on
a
Charisma
(Deception)
check
contested
by
the
mind
reader’s
Wis—
dom
(Insight)
check.
Additionally,
no
matter
what
you
say,
magic
that
would
determine
if
you
are
telling
the
truth
indicates
you
are
being
truthful
if
you
so
choose,
and
you
can’t
be
com-
pelled
to
tell
the
truth
by
magic.
SCOUT
You
are
skilled
in
stealth
and
surviving
far
from
the
streets
of
a
city,
allowing
you
to
scout
ahead
of
your
companions
during
expeditions.
Rogues
who
embrace
this
archetype
are
at
home
in
the
wilderness
and
among
barbarians
and
rangers,
and
many
Scouts
serve
as
the
eyes
and
ears
of
war
bands.
Ambusher,
spy,
bounty
hunter#these
are
just
a
few
of
the
roles
that
Scouts
as-
sume
as
they
range
the
world.
SCOUT
FEATURES
Rogue
Level
Feature
3rd
Skirmisher,
Survivalist
9th
Superior
Mobility
13th
Ambush
Master
Nth
Sudden
Strike
SKIRMISHER
Starting
at
3rd
level,
you
are
difficult
to
pin
down
during
a
fight.
You
can
move
up
to
half
your
speed
as
a
reaction
when
an
enemy
ends
its
turn
within
5
feet
of
you.
This
movement
doesn’t
provoke
opportunity
attacks.
SURVIVALIST
When
you
choose
this
archetype
at
3rd
level,
you
gain
proficiency
in
the
Nature
and
Survival
skills
if
you
don’t
already
have
it.
Your
proficiency
bonus
is
doubled
for
any
ability
check
you
make
that
uses
either
of
those
pro—
ficiencies.
SUPERIOR
MOBILITY
At
9th
level,
your
walking
speed
increases
by
10
feet.
If
you
have
a
climbing
or
swimming
speed,
this
increase
applies
to
that
speed
as
well.
AMBUSH
MASTER
Starting
at
13th
level,
you
excel
at
leading
ambushes
and
acting
first
in
a
fight.
You
have
advantage
on
initiative
rolls.
In
addition,
the
first
creature
you
hit
during
the
first
round
of
a
combat
becomes
easier
for
you
and
others
to
strike;
attack
rolls
against
that
target
have
advantage
until
the
start
of
your
next
turn.
SUDDEN
STRIKE
Starting
at
17th
level,
you
can
strike
with
deadly
speed.
If
you
take
the
Attack
action
on
your
turn,
you
can
make
one
additional
attack
as
a
bonus
action.
This
attack
can
benefit
from
your
Sneak
Attack
even
if
you
have
already
used
it
this
turn,
but
you
can’t
use
your
Sneak
Attack
against
the
same
target
more
than
once
in
a
turn.
SW%SHBUCKLER
You
focus
your
training
on
the
art
of
the
blade,
relying
on
speed,
elegance,
and
charm
in
equal
parts.
While
some
warriors
are
brutes
clad
in
heavy
armor,
your
method
of
fighting
looks
almost
like
a
performance.
Du—
elists
and
pirates
typically
belong
to
this
archetype.
A
Swashbuckler
excels
in
single
combat,
and
can
fight
with
two
weapons
while
safely
darting
away
from
an
opponent.
SWASHBUCKLER
FEATURES
Rogue
Level
Feature
3rd
Fancy
Footwork,
Rakish
Audacity
9th
Panache
13th
Elegant
Maneuver
17th
Master
Duelist
FANCY
FOOTWORK
When
you
choose
this
archetype
at
3rd
level,
you
learn
how
to
land
a
strike
and
then
slip
away
without
reprisal.
During
your
turn,
if
you
make
a
melee
attack
against
a
creature,
that
creature
can’t
make
opportunity
attacks
against
you
for
the
rest
ofyour
turn.
RAKISH
AUDACITY
Starting
at
3rd
level,
your
confidence
propels
you
into
battle.
You
can
give
yourself
a
bonus
to
your
initiative
rolls
equal
to
your
Charisma
modifier.
You
also
gain
an
additional
way
to
use
your
Sneak
At—
tack;
you
don’t
need
advantage
on
the
attack
roll
to
use
your
Sneak
Attack
against
a
creature
if
you
are
within
5
feet
of
it,
no
other
creatures
are
within
5
feet
of
you,
and
you
don’t
have
disadvantage
on
the
attack
roll.
All
the
other
rules
for
Sneak
Attack
still
apply
to
you.
PANACHE
At
9th
level,
your
charm
becomes
extraordinarily
be—
guiling.
As
an
action,
you
can
make
a
Charisma
(Per-
suasion)
check
contested
by
a
creature’s
Wisdom
(In-
sight)
check.
The
creature
must
be
able
to
hear
you,
and
the
two
of
you
must
share
a
language.
If
you
succeed
on
the
check
and
the
creature
is
hostile
to
you,
it
has
disadvantage
on
attack
rolls
against
tar-
gets
other
than
you
and
can’t
make
opportunity
attacks
against
targets
other
than
you.
This
effect
lasts
for
1
minute,
until
one
of
your
companions
attacks
the
target
or
affects
it
with
a
spell,
or
until
you
and
the
target
are
more
than
60
feet
apart.
If
you
succeed
on
the
check
and
the
creature
isn’t
hostile
to
you,
it
is
charmed
by
you
for
1
minute.
While
charmed,
it
regards
you
as
a
friendly
acquaintance.
This
effect
ends
immediately
if
you
or
your
companions
do
anything
harmful
to
it.
ELEGANT
MANEUVER
Starting
at
13th
level,
you
can
use
a
bonus
action
on
your
turn
to
gain
advantage
on
the
next
Dexterity
(Ac—
robatics)
or
Strength
(Athletics)
check
you
make
during
the
same
turn.
MASTER
DUELIST
Beginning
at
17th
level,
your
mastery
of
the
blade
lets
you
turn
failure
into
success
in
combat.
If
you
miss
with
an
attack
roll,
you
can
roll
it
again
with
advantage.
Once
you
do
so,
you
can’t
use
this
feature
again
until
you
fin-
ish
a
short
or
long
rest.
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SORCERER
PRACTICE
AND
STUDY
ARE
FOR
AMATEURS.
TRUE
POWER
is
a
birthright.
—Hennet,
scion
of
Tiamat
When
it
comes
to
drawing
forth
their
abilities
in
times
of
need,
sorcerers
have
it
easy
compared
to
other
char—
acters.
Their
power
not
only
rests
within
them,
but
it
likely
takes
some
effort
to
keep
it
at
bay.
Every
sorcerer
is
born
to
the
role,
or
stumbles
into
it
through
cosmic
chance.
Unlike
other
characters,
who
must
actively
learn,
embrace,
and
pursue
their
talents,
sorcerers
have
their
power
thrust
upon
them.
Because
the
idea
of
an
innately
magical
being
trav—
eling
among
them
does
not
sit
well
with
many
folk,
sorcerers
tend
to
breed
mistrust
and
suspicion
in
others
they
come
across.
Nonetheless,
many
sorcerers
succeed
in
overcoming
that
prejudice
through
deeds
that
benefit
their
less
magically
gifted
contemporaries.
Sorcerers
are
often
defined
by
the
events
surrounding
the
manifestation
of
their
power.
For
those
who
receive
it
as
an
expected
birthright,
its
appearance
is
a
cause
for
celebration.
Other
sorcerers
are
treated
as
outcasts,
banished
from
their
homes
after
the
sudden,
terrifying
arrival
of
their
abilities.
Playing
a
sorcerer
character
can
be
as
rewarding
as
it
is
challenging.
The
sections
below
offer
suggestions
on
how
to
flesh
out
and
personalize
your
persona.
ARCANE
ORIGIN
Some
sorcerers
understand
where
their
power
came
from,
based
on
how
their
abilities
manifested.
Others
can
only
speculate,
since
their
powers
came
to
them
in
a
way
that
suggests
no
particular
cause.
Does
your
character
know
the
source
of
your
magi—
cal
power?
Does
it
tie
back
to
some
distant
relative,
a
cosmic
event,
or
blind
chance?
If
your
sorcerer
doesn’t
know
where
their
power
arose
from,
your
DM
can
use
this
table
(or
select
an
origin)
and
reveal
it
to
you
when
the
information
plays
a
role
in
the
campaign.
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ll
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ill
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ARCANE
ORIGINS
d6
Origin
1
Your
power
arises
from
your
family's
bloodline.
You
are
related
to
some
powerful
creature,
or
you
inherited
a
blessing
or
a
curse.
2
You
are
the
reincarnation
ofa
being
from
another
plane
ofexistence.
3
A
powerful
entity
entered
the
world.
Its
magic
changed
you.
4
Your
birth
was
prophesied
in
an
ancient
text,
and
you
are
foretold
to
use
your
power
for
terrible
ends.
5
You
are
the
product
of
generations
ofcareful,
se—
lective
breeding.
6
You
were
made
in
a
vat
by
an
alchemist.
REACTION
When
a
new
sorcerer
enters
the
world,
either
at
birth
or
later
when
one’s
power
becomes
evident,
the
con-
sequences
of
that
event
depend
greatly
on
how
its
wit-
nesses
react
to
what
they
have
seen.
When
your
sorcerer’s
powers
appeared,
how
did
the
world
around
you
respond?
Were
other
people
support-
ive,
fearful,
or
somewhere
in
between?
REACTIONS
d6
Reaction
1
Your
powers
are
seen
as
a
great
blessing
by
those
around
you,
and
you
are
expected
to
use
them
in
service
to
your
community.
2
Your
powers
caused
destruction
and
even
a
death
when
they
became
evident,
and
you
were
treated
as
a
criminal.
3
Your
neighbors
hate
and
fear
your
power,
causing
them
to
shun
you.
4
You
came
to
the
attention
ofa
sinister
cult
that
plans
on
exploiting
your
abilities.
5
Peeple
around
you
believe
that
your
powers
are
a
curse
levied
on
your
family
for
a
past
transgression.
6
Your
powers
are
believed
to
be
tied
to
an
ancient
line
ofmad
kings
that
supposedly
ended
in
a
bloody
revolt
over
a
century
ago.
SUPERNATURAL
MARK
A
sorcerer
at
rest
is
almost
indistinguishable
from
a
normal
person;
it’s
only
when
their
magic
flies
forth
that
sorcerers
reveal
their
true
nature.
Even
so,
many
sorcer-
ers
have
a
subtle
but
telling
physical
trait
that
sets
them
apart
from
other
folk.
Dlulhl?
Arcane?
WlACIJC
Aillrrmu
Ants
ll;
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TC)
5216147:
DIVINE
SOUL,
STORM
Soncenerz,
AND
SHADOW
Sonceaea
If
your
sorcerer
has
a
supernatural
mark,
it
might
be
one
that’s
easily
concealed,
or
it
could
be
a
source
of
pride
that
you
keep
on
constant
display.
SUPERNATURAL
MARKS
d6
Mark
Your
eyes
are
an
unusual
color,
such
as
red.
You
have
an
extra
toe
on
one
foot.
One
ofyour
ears
is
noticeably
larger
than
the
other.
Your
hair
grows
at
a
prodigious
rate.
Lfl-lh-LAJNFJ
You
wrinkle
your
nose
repeatedly
while
you
are
chewing.
6
A
red
splotch
appears
on
your
neck
once
a
day,
then
vanishes
after
an
hour.
SIGN
OF
SORCERY
As
the
world
well
knows,
some
sorcerers
are
better
than
others
at
controlling
their
spellcasting.
Sometimes
a
wild
display
of
magic
gone
awry
emanates
from
a
sor-
cerer
who
casts
a
spell.
But
even
when
one’s
magic
goes
off
as
planned,
the
act
of
casting
is
often
accompanied
by
a
telltale
sign
that
makes
it
clear
where
that
magical
energy
came
from.
When
your
sorcerer
character
casts
a
spell,
does
the
effort
reveal
itself
in
a
sign
of
sorcery?
Is
this
sign
tied
to
your
origin
or
some
other
aspect
of
who
you
are,
or
is
it
a
seemingly
random
phenomenon?
SIGNS
or
Soncsnv
d6
l
Sign
You
deliver
the
verbal
components
ofyour
spells
in
the
booming
voice
ofa
titan.
For
a
moment
after
you
cast
a
spell,
the
area
around
you
grows
dark
and
gloomy.
You
sweat
profusely
while
casting
a
spell
and
for
a
few
seconds
thereafter.
Your
hair
and
garments
are
briefly
buffeted
about,
as
ifby
a
breeze,
whenever
you
call
forth
a
spell.
Ifyou
are
standing
when
you
cast
a
spell,
you
rise
six
inches
into
the
air
and
gently
float
back
down.
Illusory
blue
flames
wreathe
your
head
as
you
be-
gin
your
casting,
then
abruptly
disappear.
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(111A.
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orrross
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SORCEROUS
ORIGINS
At
1st
level,
a
sorcerer
gains
the
Sorcerous
Origin
fea-
ture.
The
following
options
are
available
to
a
sorcerer,
in
addition
to
those
offered
in
the
Player's
Handbook:
Divine
Soul,
Shadow
Magic,
and
Storm
Sorcery.
DIVINE
SOUL
Sometimes
the
spark
of
magic
that
fuels
a
sorcerer
comes
from
a
divine
source
that
glimmers
within
the
soul.
Having
such
a
blessed
soul
is
a
sign
that
your
innate
magic
might
come
from
a
distant
but
powerful
fa-
milial
connection
to
a
divine
being.
Perhaps
your
ances—
tor
was
an
angel,
transformed
into
a
mortal
and
sent
to
fight
in
a
god’s
name.
Or
your
birth
might
align
with
an
ancient
prophecy,
marking
you
as
a
servant
of
the
gods
or
a
chosen
vessel
of
divine
magic.
A
Divine
Soul,
with
a
natural
magnetism,
is
seen
as
a
threat
by
some
religious
hierarchies.
As
an
outsider
who
commands
sacred
power,
a
Divine
Soul
can
undermine
an
existing
order
by
claiming
a
direct
tie
to
the
divine.
In
some
cultures,
only
those
who
can
claim
the
power
of
a
Divine
Soul
may
command
religious
power.
In
these
lands,
ecclesiastical
positions
are
dominated
by
a
few
bloodlines
and
preserved
over
generations.
DIvINE
SOUL
FEATURES
Sorcerer
Level
Feature
lst
Divine
Magic,
Favored
by
the
Gods
6th
Empowered
Healing
14th
Otherworldly
Wings
13th
Unearthly
Recovery
DIVINE
MAGIC
Your
link
to
the
divine
allows
you
to
learn
spells
from
the
cleric
class.
When
your
Spellcasting
feature
lets
you
learn
or
replace
a
sorcerer
cantrip
or
a
sorcerer
spell
of
1st
level
or
higher,
you
can
choose
the
new
spell
from
the
cleric
spell
list
or
the
sorcerer
spell
list.
You
must
otherwise
obey
all
the
restrictions
for
selecting
the
spell,
and
it
becomes
a
sorcerer
spell
for
you.
In
addition,
choose
an
affinity
for
the
source
of
your
divine
power:
good,
evil,
law,
chaos,
or
neutrality.
You
learn
an
additional
spell
based
on
that
affinity,
as
shown
below.
It
is
a
sorcerer
spell
for
you,
but
it
doesn’t
count
against
your
number
of
sorcerer
spells
known.
Ifyou
later
replace
this
spell,
you
must
replace
it
with
a
Spell
from
the
cleric
spell
list.
Affinity
Spell
Good
cure
wounds
Evil
inflict
wounds
Law
bless
Chaos
bone
Neutrality
protectionfrom
evil
and
good
FAVORED
BY
THE
GODS
Starting
at
1st
level,
divine
power
guards
your
destiny.
Ifyou
fail
a
saving
throw
or
miss
with
an
attack
roll,
you
can
roll
2d4
and
add
it
to
the
total,
possibly
changing
bill/it1
A0
so
wow1
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canal
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ll:
Stlwi
arloiltrqru.
’llncr:
Shaulal
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a
local:
ahgtll
h-y
the
outcome.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
EMPOWERED
HEALING
Starting
at
6th
level,
the
divine
energy
coursing
through
you
can
empower
healing
spells.
Whenever
you
or
an
ally
within
5
feet
of
you
rolls
dice
to
determine
the
number
of
hit
points
a
spell
restores,
you
can
spend
1
sorcery
point
to
reroll
any
number
of
those
dice
once,
provided
you
aren't
incapacitated.
You
can
use
this
fea-
ture
only
once
per
turn.
OTHERWORLDLY
WINGS
Starting
at
14th
level,
you
can
use
a
bonus
action
to
manifest
a
pair
of
spectral
wings
from
your
back.
While
the
wings
are
present,
you
have
a
flying
speed
of
30
feet.
The
wings
last
until
you're
incapacitated,
you
die,
or
you
dismiss
them
as
a
bonus
action.
The
affinity
you
chose
for
your
Divine
Magic
feature
determines
the
appearance
of
the
spectral
wings:
eagle
wings
for
good
or
law,
bat
wings
for
evil
or
chaos,
and
dragonfly
wings
for
neutrality.
UN
EARTHLY
RECOVERY
At
18th
level,
you
gain
the
ability
to
overcome
grievous
injuries.
As
a
bonus
action
when
you
have
fewer
than
half
of
your
hit
points
remaining,
you
can
regain
a
num-
ber
of
hit
points
equal
to
half
your
hit
point
maximum.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
SHADOW
MAGIC
You
are
a
creature
of
shadow,
for
your
innate
magic
comes
from
the
Shadowfell
itself.
You
might
trace
your
lineage
to
an
entity
from
that
place,
or
perhaps
you
were
exposed
to
its
fell
energy
and
transformed
by
it.
The
power
of
shadow
magic
casts
a
strange
pall
over
your
physical
presence.
The
spark
of
life
that
sustains
you
is
muffled,
as
if
it
struggles
to
remain
viable
against
the
dark
energy
that
imbues
your
soul.
At
your
option,
you
can
pick
from
or
roll
on
the
Shadow
Sorcerer
Quirks
table
to
create
a
quirk
for
your
character.
SHADOW
SORCERER
QUIRKS
d6
Quirk
I
You
are
always
icy
cold
to
the
touch.
2
When
you
are
asleep,
you
don’t
appear
to
breathe
(though
you
must
still
breathe
to
survive).
3
You
barely
bleed,
even
when
badly
injured.
Your
heart
beats
once
per
minute.
This
event
sometimes
surprises
you.
5
You
have
trouble
remembering
that
living
creatures
and
corpses
should
be
treated
differently.
6
You
blinked.
Once.
Last
week.
SHADOW
MAGIC
FEATURES
Sorcerer
Level
Feature
lst
Eyes
ofthe
Dark,
Strength
ofthe
Grave
3rd
Eyes
ofthe
Dark
(darkness)
6th
Hound
of
III
Omen
14th
Shadow
Walk
18th
Umbral
Form
EYES
OF
THE
DARK
Starting
at
lst
level,
you
have
darkvision
with
a
range
of
120
feet.
When
you
reach
3rd
level
in
this
class,
you
learn
the
darkness
spell,
which
doesn’t
count
against
your
number
of
sorcerer
spells
known.
In
addition,
you
can
cast
it
by
spending
2
sorcery
points
or
by
expending
a
spell
slot.
If
you
cast
it
with
sorcery
points,
you
can
see
through
the
darkness
created
by
the
spell.
STRENGTH
OF
THE
GRAVE
Starting
at
lst
level,
your
existence
in
a
twilight
state
be-
tween
life
and
death
makes
you
difficult
to
defeat.
When
damage
reduces
you
to
0
hit
points,
you
can
make
a
Charisma
saving
throw
(DC
5
+
the
damage
taken).
On
a
success,
you
instead
drop
to
1
hit
point.
You
can’t
use
this
feature
if
you
are
reduced
to
0
hit
points
by
radiant
damage
or
by
a
critical
hit.
After
the
saving
throw
succeeds,
you
can’t
use
this
feature
again
until
you
finish
a
long
rest.
HOUND
or
ILL
OMEN
At
6th
level,
you
gain
the
ability
to
call.
forth
a
howling
creature
of
darkness
to
harass
your
foes.
As
a
bonus
action,
you
can
spend
3
sorcery
points
to
magically
summon
a
hound
of
ill
omen
to
target
one
creature
you
can
see
within
120
feet
of
you.
The
hound
uses
the
dire
wolf’s
statistics
(see
the
Monster
Manual
or
appendix
C
in
the
Player’s
Handbook),
with
the
following
changes:
.
The
hound
is
size
Medium,
not
Large,
and
it
counts
as
a
monstrosity,
not
a
beast.
-
It
appears
with
a
number
of
temporary
hit
points
equal
to
half
your
sorcerer
level.
-
It
can
move
through
other
creatures
and
objects
as
if
they
were
difficult
terrain.
The
bound
takes
5
force
damage
if
it
ends
its
turn
inside
an
object.
-
At
the
start
of
its
turn,
the
hound
automatically
knows
its
target's
location.
If
the
target
was
hidden,
it
is
no
longer
hidden
from
the
hound.
The
hound
appears
in
an
unoccupied
space
of
your
choice
within
30
feet
of
the
target.
Roll
initiative
for
the
hound.
On
its
turn,
it
can
move
only
toward
its
target
by
the
most
direct
route,
and
it
can
use
its
action
only
to
at-
tack
its
target.
The
hound
can
make
opportunity
attacks,
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but
only
against
its
target.
Additionally,
while
the
hound
is
within
5
feet
of
the
target,
the
target
has
disadvantage
on
saving
throws
against
any
spell
you
cast.
The
hound
disappears
if
it
is
reduced
to
0
hit
points,
if
its
target
is
reduced
to
0
hit
points,
or
after
5
minutes.
SHADOW
WALK
At
14th
level,
you
gain
the
ability
to
step
from
one
shadow
into
another.
When
you
are
in
dim
light
or
dark-
ness,
as
a
bonus
action,
you
can
magically
teleport
up
to
120
feet
to
an
unoccupied
space
you
can
see
that
is
also
in
dim
light
or
darkness.
UMBRAL
FORM
Starting
at
18th
level,
you
can
spend
6
sorcery
points
as
a
bonus
action
to
magically
transform
yourself
into
a
shadowy
form.
In
this
form,
you
have
resistance
to
all
damage
except
force
and
radiant
damage,
and
you
can
move
through
other
creatures
and
objects
as
if
they
were
difficult
terrain.
You
take
5
force
damage
if
you
end
your
turn
inside
an
object.
You
remain
in
this
form
for
1
minute.
It
ends
early
if
you
are
incapacitated,
if
you
die,
or
if
you
dismiss
it
as
a
bonus
action.
STORM
SORCERY
Your
innate
magic
comes
from
the
power
of
elemental
air.
Many
with
this
power
can
trace
their
magic
back
to
a
near-death
experience
caused
by
the
Great
Rain,
but
perhaps
you
were
born
during
a
howling
gale
so
power-
ful
that
folk
still
tell
stories
of
it,
or
your
lineage
might
include
the
influence
of
potent
air
creatures
such
as
djinn.
Whatever
the
case,
the
magic
of
the
storm
perme~
ates
your
being.
"
"w:
it:
t.
t.
iii-'i'iti:
Storm
sorcerers
are
invaluable
members
of
a
ship’s
crew.
Their
magic
allows
them
to
exert
control
over
wind
and
weather
in
their
immediate
area.
Their
abili-
ties
also
prove
useful
in
repelling
attacks
by
sahuagin,
pirates,
and
other
waterborne
threats.
STORM
SORCERY
FEATURES
Sorcerer
Level
Feature
lst
Wind
Speaker,
Tempestuous
Magic
6th
Heart
of
the
Storm,
Storm
Guide
14th
Storm’s
Fury
18th
Wind
Soul
WIND
SPEAKER
The
arcane
magic
you
command
is
infused
with
ele-
mental
air.
You
can
speak,
read,
and
write
Primordial.
Knowing
this
language
allows
you
to
understand
and
be
understood
by
those
who
speak
its
dialects:
Aquan,
Auran,
Ignan,
and
Terran.
TEMPESTUOUS
MAGIC
Starting
at
1st
level,
you
can
use
a
bonus
action
on
your
turn
to
cause
whirling
gusts
of
elemental
air
to
briefly
surround
you,
immediately
before
or
after
you
cast
a
spell
of
1st
level
or
higher.
Doing
so
allows
you
to
fly
up
to
10
feet
without
provoking
opportunity
attacks.
HEART
OF
THE
STORM
At
6th
level,
you
gain
resistance
to
lightning
and
thunder
damage.
In
addition,
whenever
you
start
casting
a
spell
of
1st
level
or
higher
that
deals
lightning
or
thunder
damage,
stormy
magic
erupts
from
you.
This
eruption
causes
creatures
of
your
choice
that
you
can
see
within
10
feet
of
you
to
take
lightning
or
thunder
damage
(choose
each
time
this
ability
activates)
equal
to
half
your
sorcerer
level.
STORM
GUIDE
At
6th
level,
you
gain
the
ability
to
subtly
control
the
weather
around
you.
Ifit
is
raining,
you
can
use
an
action
to
cause
the
rain
to
stop
falling
in
a
20-foot—radius
sphere
centered
on
you.
You
can
end
this
effect
as
a
bonus
action.
If
it
is
windy,
you
can
use
a
bonus
action
each
round
to
choose
the
direction
that
the
wind
blows
in
a
IOO-foot-radius
sphere
centered
on
you.
The
wind
blows
in
that
direction
until
the
end
of
your
next
turn.
This
fea-
ture
doesn't
alter
the
speed
of
the
wind.
STORM’S
FURY
Starting
at
14th
level,
when
you
are
hit
by
a
melee
at-
tack,
you
can
use
your
reaction
to
deal
lightning
damage
to
the
attacker.
The
damage
equals
your
sorcerer
level.
The
attacker
must
also
make
a
Strength
saving
throw
against
your
sorcerer
spell
save
DC.
On
a
failed
save,
the
attacker
is
pushed
in
a
straight
line
up
to
20 feet
away
from
you.
WIND
SOUL
At
18th
level,
you
gain
immunity
to
lightning
and
thun-
der
damage.
You
also
gain
a
magical
flying
speed
of
60
feet.
As
an
action.
you
can
reduce
your
flying
speed
to
30
feet
for
1
hour
and
choose
a
number
of
creatures
within
30
feet
of
you
equal
to
3
+
your
Charisma
modifier.
The
chosen
creatures
gain
a
magical
flying
speed
of
30
feet
for
1
hour.
Once
you
reduce
your
flying
speed
in
this
way,
you
can’t
do
so
again
until
you
finish
a
short
or
long
rest.
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WARLOCK
YOU
THINK
ME
new?
ITHINK
TRUE
INSANITY
IS
BEING
content
to
live
o
life
of
mortal
drudgery
when
l-rnowledge
ondporoer
is
therefor
the
tohingin
the
realm
beyond.
—Xarren.
herald
of
Acamar
Warlocks
are
finders
and
keepers
of
secrets.
They
push
at
the
edge
of
our
understanding
of
the
world,
always
seeking
to
expand
their
expertise.
Where
sages
or
wiz—
ards
might
heed
a
clear
sign
of
danger
and
end
their
research,
a
warlock
plunges
ahead,
heedless
of
the
cost.
Thus,
it
takes
a
peculiar
mixture
of
intelligence,
curios—
ity,
and
recklessness
to
produce
a
warlock.
Many
folk
would
describe
that
combination
as
evidence
of
mad-
ness.
Warlocks
see
it
as
a
demonstration
of
bravery.
Warlocks
are
defined
by
two
elements
that
work
in
concert
to
forge
their
path
into
this
class.
The
first
element
is
the
event
or
circumstances
that
led
to
a
warlock’s
entering
into
a
pact
with
a
planar
entity.
The
second
one
is
the
nature
of
the
entity
a
warlock
is
bound
to.
Unlike
clerics,
who
typically
embrace
a
deity
and
that
god’s
ethos,
a
warlock
might
have
no
love
for
a
patron,
or
vice
versa.
The
sections
that
follow
provide
ways
to
embellish
a
warlock
character
that
could
generate
some
intriguing
story
and
roleplaying
opportunities.
PATRON’S
ATTITUDE
Every
relationship
is
a
two-way
street,
but
in
the
case
of
warlocks
and
their
patrons
it’s
not
necessarily
true
that
both
sides
of
the
street
are
the
same
width
or
made
of
the
same
stuff.
The
feeling
that
a
warlock
holds
for
their
patron,
whether
positive
or
negative,
might
be
recipro-
cated
by
the
patron,
or
the
two
participants
in
the
pact
might
view
one
another
with
opposing
emotions.
When
you
determine
the
attitude
your
warlock
charac—
ter
holds
toward
your
patron,
also
consider
how
things
look
from
the
patron’s
perspective.
How
does
your
pa~
tron
behave
toward
you?
Is
your
patron
a
friend
and
ally,
or
an
enemy
that
grants
you
power
only
because
you
forced
a
pact
upon
it?
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PATRON
ATTITUDES
Attitude
1
Your
patron
has
guided
and
helped
your
family
for
generations
and
is
kindly
toward
you.
2
Each
interaction
with
your
capricious
patron
is
a
surprise,
whether
pleasant
or
painful.
3
Your
patron
is
the
spirit
ofa
long-dead
hero
who
sees
your
pact
as
a
way
for
it
to
continue
to
influ-
ence
the
world.
4
Your
patron
is
a
strict
disciplinarian
but
treats
you
with
a
measure
of
respect.
5
Your
patron
tricked
you
into
a
pact
and
treats
you
as
a
slave.
6
You
are
mostly
left
to
your
own
devices
with
no
in-
terference
from
your
patron.
Sometimes
you
dread
the
demands
it
will
make
when
it
does
appear.
SPECIAL
TERMS
OF
THE
PACT
A
pact
can
range
from
a
loose
agreement
to
a
formal
contract
with
lengthy,
detailed
clauses
and
lists
of
re«
quirements.
The
terms
of
a
pact—what
a
warlock
must
do
to
receive
a
patron’s
favor—are
always
dictated
by
the
patron.
On
occasion,
those
terms
include
a
special
proviso
that
might
seem
odd
or
whimsical,
but
warlocks
take
these
dictates
as
seriously
as
they
do
the
other
re-
quirements
of
their
pacts.
Does
your
character
have
a
pact
that
requires
you
to
change
your
behavior
in
an
unusual
or
seemingly
frivolous
way?
Even
if
your
patron
hasn’t
imposed
such
a
duty
on
you
already,
that’s
not
to
say
it
couldn't
still
happen.
SPECIAL
TERMS
d6
Term
1
When
directed,
you
must
take
immediate
action
against
a
specific
enemy
ofyour
patron.
2
Your
pact
tests
your
willpower;
you
are
required
to
abstain
from
alcohol
and
other
intoxicants.
3
At
least
once
a
day,
you
must
inscribe
or
carve
your
patron’s
name
or
symbol
on
the
wall
ofa
building.
4
You
must
occasionally
conduct
bizarre
rituals
to
maintain
your
pact.
5
You
can
never
wear
the
same
outfit
twice,
since
your
patron
finds
such
predictability
to
be
boring.
6
When
you
use
an
eldritch
invocation,
you
must
I
_..-<'_"._-/y
speak
your
patron’s
name
aloud
or
risk
incurring
its
displeasure.
sir-w]
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X'-
WARLOCH
or
THE
CELESTIAL
BINDING
MARK
Some
patrons
make
a
habit
of,
and
often
enjoy,
mark-
ing
the
warlocks
under
their
sway
in
some
fashion.
A
binding
mark
makes
it
clear—t0
those
who
know
about
such
things—that
the
individual
in
question
is
bound
to
the
patron’s
service.
A
warlock
might
take
advantage
of
such
a
mark,
claiming
it
as
proof
of
one’s
pact,
or
might
want
to
keep
it
under
wraps
(if
possible)
to
avoid
the
dif-
ficulties
it
might
bring.
If
your
warlock’s
pact
comes
with
a
binding
mark,
how
you
feel
about
displaying
it
probably
depends
on
the
nature
of
your
relationship
with
the
one
who
gave
it
to
you.
Is
the
mark
a
source
of
pride
or
something
you
are
secretly
ashamed
of?
BINDING
MARKS
d6
Mark
1
One
ofyour
eyes
looks
the
same
as
one
ofyour
patron's
eyes.
2
Each
time
you
wake
up,
the
small
blemish
on
your
face
appears
in
a
different
place.
3
You
display
outward
symptoms
ofa
disease
but
suffer
no
ill
effects
from
it.
4
Your
tongue
is
an
unnatural
color.
You
have
a
vestigial
tail.
6
Your
nose
glows
in
the
dark.
OTHERWORLDLY
PATRONS
At
1st
level,
a
warlock
gains
the
Otherworldly
Patron
feature.
The
following
options
are
available
to
a
warlock,
in
addition
to
those
offered
in
the
Pfayer’s
Handbook:
the
Celestial
and
the
Hexblade.
THE
CELESTIAL
Your
patron
is
a
powerful
being
of
the
Upper
Planes.
You
have
bound
yourself
to
an
ancient
empyrean,
solar,
ki-rin,
unicorn,
or
other
entity
that
resides
in
the
planes
of
everlasting
bliss.
Your
pact
with
that
being
allows
you
to
experience
the
barest
touch
of
the
holy
light
that
illu—
minates
the
multiverse.
Being
connected
to
such
power
can
cause
changes
in
your
behavior
and
beliefs.
You
might
find
yourself
driven
to
annihilate
the
undead,
to
defeat
fiends,
and
to
protect
the
innocent.
At
times,
your
heart
might
also
be
filled
with
a
longing
for
the
celestial
realm
of
your
patron,
and
a
desire
to
wander
that
paradise
for
the
rest
of
your
days.
But
you
know
that
your
mission
is
among
mortals
for
now,
and
that
your
pact
binds
you
to
bring
light
to
the
dark
places
of
the
world.
CELESTIAL
FEATURES
Warlock
Level
Feature
lst
Expanded
Spell
List,
Bonus
Cantrips,
Healing
Light
6th
Radiant
Soul
10th
Celestial
Resilience
14th
Searing
Vengeance
EXPANDED
SPELL
LIST
The
Celestial
lets
you
choose
from
an
expanded
list
of
spells
when
you
learn
a
warlock
spell.
The
following
spells
are
added
to
the
warlock
spell
list
for
you.
CELESTIAL
EXPANDED
SPELLS
Spell
Level
Spells
lst
care
wounds,
guiding
bolt
2nd
flaming
sphere,
lesser
restoration
3rd
daylight,
revivify
4th
guardian
offaith,
wall
offire
5th
flame
strike,
greater
restoration
BONUS
CANTRIPS
At
1st
level,
you
learn
the
light
and
sacred
flame
can-
trips.
They
count
as
warlock
cantrips
for
you,
but
they
don’t
count
against
your
number
of
cantrips
known.
HEALING
LIGHT
At
lst
level,
you
gain
the
ability
to
channel
celestial
energy
to
heal
wounds.
You
have
a
pool
of
d6s
that
you
spend
to
fuel
this
healing.
The
number
of
dice
in
the
pool
equals
1
+
your
warlock
level.
As
a
bonus
action,
you
can
heal
one
creature
you
can
see
within
60
feet
of
you,
spending
dice
from
the
pool.
The
maximum
number
of
dice
you
can
spend
at
once
equals
your
Charisma
modifier
(minimum
of
one
die).
r-—~-
.
Roll
the
dice
you
spend,
add
them
together,
and
restore
a
number
of
hit
points
equal
to
the
total.
Your
pool
regains
all
expended
dice
when
you
finish
a
long
rest.
RADIANT
SOUL
Starting
at
6th
level,
your
link
to
the
Celestial
allows
you
to
serve
as
a
conduit
for
radiant
energy.
You
have
resistance
to
radiant
damage,
and
when
you
cast
a
spell
that
deals
radiant
or
fire
damage,
you
can
add
your
Cha-
risma
modifier
to
one
radiant
or
fire
damage
roll
of
that
spell
against
one
of
its
targets.
CELESTIAL
RESILIENCE
Starting
at
10th
level,
you
gain
temporary
hit
points
whenever
you
finish
a
short
or
long
rest.
These
tempo—
rary
hit
points
equal
your
warlock
level
+
your
Charisma
modifier.
Additionally,
choose
up
to
five
creatures
you
can
see
at
the
end
of
the
rest.
Those
creatures
each
gain
temporary
hit
points
equal
to
half
your
warlock
level
+
your
Charisma
modifier.
BEARING
VENGEANCE
Starting
at
14th
level,
the
radiant
energy
you
channel
allows
you
to
resist
death.
When
you
have
to
make
a
death
saving
throw
at
the
start
of
your
turn,
you
can
instead
spring
back
to
your
feet
with
a
burst
of
radiant
energy.
You
regain
hit
points
equal
to
half
your
hit
point
maximum,
and
then
you
stand
up
if
you
so
choose.
Each
creature
of
your
choice
that
is
within
30
feet
of
you
takes
radiant
damage
equal
to
2d8
+
your
Charisma
modifier,
and
it
is
blinded
until
the
end
of
the
current
turn.
Once
you
use
this
feature,
you
can’t
use
it
again
until
you
finish
a
long
rest.
THE
HEXBLADE
You
have
made
your
pact
with
a
mysterious
entity
from
the
Shadowfell—a
force
that
manifests
in
sentient
magic
weapons
carved
from
the
stuff
of
shadow.
The
mighty
sword
Blaclrrazor
is
the
most
notable
of
these
weapons,
which
have
been
spread
across
the
multiverse
over
the
ages.
The
shadowy
force
behind
these
weapons
can
offer
power
to
warlocks
who
form
pacts
with
it.
Many
hexhlade
warlocks
create
weapons
that
emulate
those
formed
in
the
Shadowfell.
Others
forgo
such
arms,
content
to
weave
the
dark
magic
of
that
plane
into
their
spellcasting.
Because
the
Raven
Queen
is
known
to
have
forged
the
first
of
these
weapons,
many
sages
speculate
that
she
and
the
force
are
one
and
that
the
weapons,
along
with
hexblade
warlocks,
are
tools
she
uses
to
manipulate
events
on
the
Material
Plane
to
her
inscrutable
ends.
HEXBLADE
FEATURES
Warlock
Level
Feature
lst
Expanded
Spell
List,
Hexblade’s
Curse,
Hex
Warrior
6th
Accursed
Specter
10th
Armor
of
Hexes
14th
Master
of
Hexes
EXPANDED
SPELL
LIST
The
Hexblade
lets
you
choose
from
an
expanded
list
of
spells
when
you
learn
a
warlock
spell.
The
following
spells
are
added
to
the
warlock
spell
list
for
you.
HEXBLADE
EXPANDED
SPELLs
Spell
Level
Spells
lst
shield,
wratbfal
smite
2nd
blur,
branding
smite
3rd
blink,
elemental
weapon
4th
pbantasmal
killer,
staggering
smite
5th
banishing
smite,
cone
ofcold
HEXBLADE’S
CURSE
Starting
at
lst
level,
you
gain
the
ability
to
place
a
bale—
ful
curse
on
someone.
As
a
bonus
action,
choose
one
creature
you
can
see
within
30
feet
of
you.
The
target
is
cursed
for
1
minute.
The
curse
ends
early
if
the
target
dies,
you
die,
or
you
are
incapacitated.
Until
the
curse
ends,
you
gain
the
following
benefits:
-
You
gain
a
bonus
to
damage
rolls
against
the
cursed
target.
The
bonus equals
your
proficiency
bonus.
-
Any
attack
roll
you
make
against
the
cursed
target
is
a
critical
hit
on
a
roll
of
19
or
20
on
the
d20.
.
If
the
cursed
target
dies,
you
regain
hit
points
equal
to
your
warlock
level
+
your
Charisma
modifier
(mini-
mum
of
1
hit
point).
You
can’t
use
this
feature
again
until
you
finish
a
short
or
long
rest.
HEX
WARRIOR
At
lst
level,
you
acquire
the
training
necessary
to
effec-
tively
arm
yourself
for
battle.
You
gain
proficiency
with
medium
armor,
shields,
and
martial
weapons.
The
influence
of
your
patron
also
allows
you
to
mys-
tically
channel
your
will
through
a
particular
weapon.
Whenever
you
finish
a
long
rest,
you
can
touch
one
weapon
that
you
are
proficient
with
and
that
lacks
the
two-handed
property.
When
you
attack
with
that
weapon,
you
can
use
your
Charisma
modifier,
instead
of
Strength
or
Dexterity,
for
the
attack
and
damage
rolls.
This
benefit
lasts
until
you
finish
a
long
rest.
If
you
later
i
l
\
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-I'
{I
ll
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.
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‘i
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I
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n
‘I
-.
WARLOCK
or
THE
Hexamos
gain
the
Pact
of
the
Blade
feature,
this
benefit
extends
to
every
pact
weapon
you
conjure
with
that
feature,
no
matter
the
weapon’s
type.
ACCURSED
SPECTER
Starting
at
6th
level,
you
can
curse
the
soul
of
a
person
you
slay,
temporarily
binding
it
to
your
service.
When
you
slay
a
humanoid,
you
can
cause
its
Spirit
to
rise
from
its
corpse
as
a
specter,
the
statistics
for
which
are
in
the
Monster
Manual.
When
the
specter
appears,
it
gains
temporary
hit
points
equal
to
half
your
warlock
level.
Roll
initiative
for
the
specter,
which
has
its
own
turns.
It
obeys
your
verbal
commands,
and
it
gains
a
special
bonus
to
its
attack
rolls
equal
to
your
Charisma
modifier
(minimum
of
+0).
The
specter
remains
in
your
service
until
the
end
of
your
next
long
rest,
at
which
point
it
vanishes
to
the
afterlife.
Once
you
bind
a
specter
with
this
feature,
you
can’t
use
the
feature
again
until
you
finish
a
long
rest.
ARMOR
or
HEXES
At
10th
level,
your
hex
grows
more
powerful.
If
the
tar-
get
cursed
by
your
Hexblade’s
Curse
hits
you
with
an
attack
roll,
you
can
use
your
reaction
to
roll
a
d6.
On
a
4
or
higher,
the
attack
instead
misses
you,
regardless
of
its
roll.
MASTER
OF
HEXES
Starting
at
14th
level,
you
can
spread
your
Hexblade’s
Curse
from
a
slain
creature
to
another
creature.
When
slolsciit.
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ii
qus
swirl,
{-1
the
creature
cursed
by
your
Hexblade’s
Curse
dies,
you
can
apply
the
curse
to
a
different
creature
you
can
see
within
30
feet
of
you,
provided
you
aren’t
inca—
pacitated.
When
you
apply
the
curse
in this
way,
you
don’t
regain
hit
points
from
the
death
of
the
previously
cursed
creature.
ELDRITCH
INVOCATIONS
At
2nd
level,
a
warlock
gains
the
Eldritch
lnvocations
feature.
Here
are
new
options
for
that
feature,
in
addi—
tion
to
the
options
in
the
Player’s
Handbook.
If
an
eldritch
invocation
has
a
prerequisite,
you
must
meet
it
to
learn
the
invocation.
You
can
learn
the
invo~
cation
at
the
same
time
that
you
meet
its
prerequisite.
A
level
prerequisite
refers
to
your
level
in
this
class.
ASPECT
OF
THE
MOON
Prerequisite:
Pact
of
the
Tome
feature
You
no
longer
need
to
sleep
and
can’t
be
forced
to
sleep
by
any
means.
To
gain
the
benefits
of
a
long
rest,
you
can
spend
all
8
hours
doing
light
activity,
such
as
read-
ing
your
Book
of
Shadows
and
keeping
watch.
CLOAK
or
FLIEs
Prerequisite:
5th
level
As
a
bonus
action,
you
can
surround
yourself
with
a
magical
aura
that
looks
like
buzzing
flies.
The
aura
ex-
tends
5
feet
from
you
in
every
direction,
but
not
through
total
cover.
It
lasts
until
you’re
incapacitated
or
you
dis-
miss
it
as
a
bonus
action.
The
aura
grants
you
advantage
on
Charisma
(Intimi-
dation)
checks
but
disadvantage
on
all
other
Charisma
checks.
Any
other
creature
that
starts
its
turn
in
the
aura
takes
poison
damage
equal
to
your
Charisma
mod-
ifier
(minimum
of
O
damage).
Once
you
use
this
invocation,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
ELDRITCH
SMITE
Prerequisite:
5th
level,
Pact
of
the
Blade
feature
Once
per
turn
when
you
hit
a
creature
with
your
pact
weapon,
you
can
expend
a
warlock
spell
slot
to
deal
an
extra
1d8
force
damage
to
the
target,
plus
another
14:18
per
level
of
the
spell
slot,
and
you
can
knock
the
target
prone
if
it
is
Huge
or
smaller.
GHOSTLY
Gaza
Prerequisite:
7th
level
As
an
action,
you
gain
the
ability
to
see
through
solid
objects
to
a
range
of
30
feet.
Within
that
range,
you
have
darkvision
if
you
don’t
already
have
it.
This
special
sight
lasts
for
1
minute
or
until
your
concentration
ends
(as
if
you
were
concentrating
on
a
spell).
During
that
time,
you
perceive
objects
as
ghostly,
transparent
images.
Once
you
use
this
invocation,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
GIFT
OF
THE
DEPTHS
Prerequisite:
5th
level
You
can
breathe
underwater,
and
you
gain
a
swimming
speed
equal
to
your
walking
speed.
You
can
also
cast
water
breathing
once
without
ex-
pending
a
spell
slot.
You
regain
the
ability
to
do
so
when
you
finish
a
long
rest.
GIFT
OF
THE
EVER-LIVING
ONES
Prerequisite:
Pact
of
the
Chain
feature
Whenever
you
regain
hit
points
while
your
familiar
is
within
100
feet
of
you,
treat
any
dice
rolled
to
determine
the
hit
points
you
regain
as
having
rolled
their
maxi-
mum
value
for
you.
GRASP
or
HADAR
Prerequisite:
eldritch
blast
cantrip
Once
on
each
of
your
turns
when
you
hit
a
creature
with
your
eldritcli
blast,
you
can
move
that
creature
in
a
straight
line
10
feet
closer
to
you.
IMPROVED
PACT
WEAPON
Prerequisite:
Pact
of
the
Blade
feature
You
can
use
any
weapon
you
summon
with
your
Pact
of
the
Blade
feature
as
a
spellcasting
focus
for
your
waru
lock
spells.
In
addition,
the
weapon
gains
a
+1
bonus
to
its
attack
and
damage
rolls,
unless
it
is
a
magic
weapon
that
al-
ready
has
a
bonus
to
those
rolls.
Finally,
the
weapon
you
conjure
can
be
a
shortbow,
longbow,
light
crossbow,
or
heavy
crossbow.
LANCE
0F
LETHARGY
Prerequisite:
eldritch
blast
cantrip
Once
on
each
of
your
turns
when
you
hit
a
creature
with
your
eldritch
blast,
you
can
reduce
that
creature’s
speed
by
10
feet
until
the
end
of
your
next
turn.
MADDENING
HEX
Prerequisite:
5th
level,
hex
spell
or
a
warlock
feature
that
curses
As
a
bonus
action,
you
cause
a
psychic
disturbance
around
the
target
cursed
by
your
he);
spell
or
by
a
war-
lock
feature
of
yours,
such
as
Hexblade’s
Curse
or
Sign
of
Ill
Omen.
When
you
do
so,
you
deal
psychic
damage
to
the
cursed
target
and
each
creature
of
your
choice
that
you
can
see
within
5
feet
of
it.
The
psychic
damage
equals
your
Charisma
modifier
(minimum
of
1
dam-
age).
To
use
this
invocation,
you
must
be
able
to
see
the
cursed
target,
and
it
must
be
within
30
feet
of
you.
RELENTLESS
HEX
Prerequisite:
7th
level,
hex
spell
or
a
warlock
feature
that
curses
Your
curse
creates
a
temporary
bond
between
you
and
your
target.
As
a
bonus
action,
you
can
magically
teler
port
up
to
30
feet
to
an
unoccupied
space
you
can
see
within
5
feet
of
the
target
cursed
by
your
hex
spell
or
by
a
warlock
feature
of
yours,
such
as
Hexblade’s
Curse
or
Sign
of
111
Omen.
To
teleport
in
this
way,
you
must
be
able
to
see
the
cursed
target.
SHROUD
or
SHADOW
Prerequisite:
15th
level
You
can
cast
invisibility
at
will,
without
expending
a
spell
slot.
TOMB
or
LEVISTUS
Prerequisite:
5th
level
As
a
reaction
when
you
take
damage,
you
can
entomb
yourself
in
ice,
which
melts
away
at
the
end
of
your
next
turn.
You
gain
10
temporary
hit
points
per
warlock
level,
which
take
as
much
of
the
triggering
damage
as
possible.
Immediately after
you
take
the
damage,
you
gain
vulnerability
to
fire
damage,
your
speed
is
reduced
to
0,
and
you
are
incapacitated.
These
effects,
including
any
remaining
temporary
hit
points,
all
end
when
the
ice
melts.
Once
you
use
this
invocation,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
TRICKSTER’S
ESCAPE
Prerequisite:
7th
level
You
can
cast
freedom
of
movement
once
on
yourself
without
expending
a
spell
slot.
You
regain
the
ability
to
do
so
when
you
finish
a
long
rest.
WIZARD
WIZARDRY
REQUIRES
UNDERSTANDING.
THE
KNOWLEDGE
ofhoui
and
why
magic
works.
and
our
efforts
to
broaden
that
understanding,
have
brought
about
the
key
advances
in
civilization
over
the
centuries.
—Gimble
the
illusionist
Only
a
select
few
people
in
the
world
are
wielders
of
magic.
Ofall
those,
wizards
stand
at
the
pinnacle
of
the
craft.
Even
the
least
of
them
can
manipulate
forces
that
fiout
the
laws
of
nature,
and
the
most
accomplished
among
them
can
cast
spells
with
world-shaking
effects.
The
price
that
wizards
pay
for
their
mastery
is
that
most
valuable
of
commodities:
time.
It
takes
years
of
study,
instruction,
and
experimentation
to
learn
how
to
harness
magical
energy
and
carry
spells
around
in
one’s
own
mind.
For
adventuring
wizards
and
other
spellcast-
ers
who
aspire
to
the
highest
echelons
of
the
profession,
the
studying
never
ends,
nor
does
the
quest
for
knowl-
edge
and
power.
If
you're
playing
a
wizard,
take
advantage
of
the
opportunity
to
make
your
character
more
than
just
a
stereotypical
spell-slinger.
Use
the
advice
that
follows
to
add
some
intriguing
details
to
how
your
wizard
interacts
with
the
world.
SPELLBOOK
Your
wizard
character’s
most
prized
possession—your
spellbook—might
be
an
innocuous-looking
volume
whose
covers
show
no
hint
of
what’s
inside.
Or
you
might
display
some
flair,
as
many
wizards
do,
by
car-
rying
a
spellbook
of
an
unusual
sort.
If
you
don’t
own
such
an
item
already,
one
of
your
goals
might
be
to
find
a
spellbook
that
sets
you
apart
by
its
appearance
or
its
means
of
manufacture.
SPELLBOOKS
d6
SpeHbook
l
A
tome
with
pages
that
are
thin
sheets
ofmetal,
spells
etched
into
them
with
acid
2
Long
straps
ofleather
on
which
spells
are
written,
wrapped
around
a
stafffor
ease
oftransport
3
A
battered
tome
filled
with
pictographs
that
only
you
can
understand
4
Small
stones
inscribed
with
spells
and
kept
in
a
cloth
bag
5
A
scorched
book,
ravaged
by
dragon
fire,
with
the
script
ofyour
spells
barely
visible
on
its
pages
6
A
tome
full
ofblack
pages
whose
writing
is
visible
only
in
dim
light
or
darkness
AMBITION
Few
aspiring
wizards
undertake
the
study
of
magic
without
some
personal
goal
in
mind.
Many
wizards
use
their
spells
as
a
tool
to
produce
a
tangible
benefit,
in
ma-
terial
goods
or
in
status,
for
themselves
or
their
compan-
ions.
For
others,
the
theoretical
aspect
of
magic
might
have
a
strong
appeal,
pushing
those
wizards
to
seek
out
knowledge
that
supports
new
theories
of
the
arcane
or
confirms
old
ones.
Beyond
the
obvious,
why
does
your
wizard
character
study
magic,
and
what
do
you
want
to
achieve?
If
you
ha—
ven’t
given
these
questions
much
thought,
you
can
do
so
now,
and
the
answers
you
come
up
with
will
likely
affect
how
your
future
unfolds.
AMBITIONS
d6
Ambition
1
You
will
prove
that
the
gods
aren't
as
powerful
as
folk
believe.
Immortality
is
the
end
goal
ofyour
studies.
3
lfyou
can
fully
understand
magic,
you
can
unlock
its
use
for
all
and
usher
in
an
era
of
equality.
4
Magic
is
a
dangerous
tool.
You
use
it
to
protect
what
you
treasure.
5
Arcane
power
must
be
taken
away
from
those
who
would
abuse
it.
6
You
will
become
the
greatest
wizard
the
world
has
seen
in
generations.
qlcfiln.
t
[out
Unis
lurch.
l'lrov
when“
Liana.
CGIAI‘E
41,0
magic.
TE)
Ones,
how
«Won».
(can.
own
MN
fife
Csh'l:
cam‘worz.
Ha
ha
lAql.
ECCENTRICITY
Endless
hours
of
solitary
study
and
research
can
have
a
negative
effect
on
anyone’s
social
skills.
Wizards,
who
/
are
a
breed
apart
to
begin
with,
are
no
exception.
An
odd
mannerism
or
two
is
not
necessarily
a
drawback,
though;
an
eccentricity
of
this
sort
is
usually
harmless
and
could
provide
a
source
of
amusement
or
serve
as
a
calling
card
of
sorts.
If
your
character
has
an
eccentricity,
is
it
a
physical
tic
or
a
mental
one?
Are
you
well
known
in
some
circles
because
of
it?
Do
you
fight
to
overcome
it,
or
do
you
em-
brace
this
minor
claim
to
fame
of
yours?
ECCENTRICITIES
d6
Eccentricity
l
You
have
the
habit
oftapping
your
foot
incessantly,
which
often
annoys
those
around
you.
2
Your
memory
is
quite
good,
but
you
have
no
trou-
ble
pretending
to
be
absentminded
when
it
suits
your
purposes.
3
You
never
enter
a
room
without
looking
to
see
what’s
hanging
from
the
ceiling.
4
Your
most
prized
possession
is
a
dead
worm
that
you
keep
inside
a
potion
vial.
5
When
you
want
people
to
leave
you
alone,
you
start
talking
to
yourself.
That
usually
does
the
trick.
6
Your
fashion
sense
and
grooming,
or
more
ac-
curately
lack
thereof,
sometimes
cause
others
to
assume
you
are
a
beggar.
ARCANE
TRADITION
At
2nd
level,
a
wizard
gains
the
Arcane
Tradition
fea—
ture.
The
following
War
Magic
option
is
available
to
a
wizard,
in
addition
to
the
options
offered
in
the
Play—
eris
Handbook.
WAR
MAGIC
A
variety
of
arcane
colleges
specialize
in
training
wiz—
ards
for
war.
The
tradition
of
War
Magic
blends
princi-
ples
of
evocation
and
abjuration,
rather
than
specializ—
ing
in
either
of
those
schools.
It
teaches
techniques
that
empower
a
caster’s
spells,
while
also
providing
methods
for
wizards
to
bolster
their
own
defenses.
Followers
of
this
tradition
are
known
as
war
mages.
They
see
their
magic
as
both
a
weapon
and
armor,
a
re
source
superior
to
any
piece
of
steel.
War
mages
act
fast
in
battle,
using
their
spells
to
seize
tactical
control
of
a
situation.
Their
spells
strike
hard,
while
their
defensive
skills
foil
their
opponents“
attempts
to
counterattack.
War
mages
are
also
adept
at
turning
other
spellcasters’
magical
energy
against
them.
WAR
MAGE
In
great
battles,
a
war
mage
often
works
with
evokers,
abjurers,
and
other
types
of
wizards.
Evokers,
in
par—
ticular,
sometimes
tease
war
mages
for
splitting
their
attention
between
offense
and
defense.
A
war
mage’s
typical
response:
“What
good
is
being
able
to
throw
a
mighty
fireball
if
I
die
before
I
can
cast
it?”
WAR
MAGIC
FEATURES
Wizard
Level
Feature
2nd
Arcane
Deflection,
Tactical
Wit
6th
Power
Surge
10th
Durable
Magic
14th
Deflecting
Shroud
ARCANE
DEFLECTION
At
2nd
level,
you
have
learned
to
weave
your
magic
to
fortify
yourself
against
harm.
When
you
are
hit
by
an
at-
tack
or
you
fail
a
saving
throw,
you
can
use
your
reaction
to
gain
a
+2
bonus
to
your
AC
against
that
attack
or
a
+4
bonus
to
that
saving
throw.
When
you
use
this
feature,
you
can't
cast
spells
other
than
cantrips
until
the
end
of
your
next
turn.
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C20
Change
TACTICAL
WIT
Starting
at
2nd
level,
your
keen
ability
to
assess
tactical
situations
allows
you
to
act
quickly
in
battle.
You
can
give
yourself
a
bonus
to
your
initiative
rolls
equal
to
your
Intelligence
modifier.
POWER
SURGE
Starting
at
6th
level,
you
can
store
magical
energy
within
yourself
to
later
empower
your
damaging
spells.
In
its
stored
form,
this
energy
is
called
a
power
surge.
You
can
store
a
maximum
number
of
power
surges
equal
to
your
Intelligence
modifier
(minimum
of
one).
Whenever
you
finish
a
long
rest,
your
number
of
power
surges
reset-s
to
one.
Whenever
you
successfully
end
a
spell
with
dispel
magic
or
counterspel],
you
gain
one
power
surge,
as
you
steal
magic
from
the
spell
you
foiled.
If
you
end
a
short
rest
with
no
power
surges,
you
gain
one
power
surge.
Once
per
turn
when
you
deal
damage
to
a
creature
or
object
with
a
wizard
spell,
you
can
spend
one
power
surge
to
deal
extra
force
damage
to
that
target.
The
ex-
tra
damage
equals
half
your
wizard
level.
DURABLE
MAGIC
Beginning
at
10th
level,
the
magic
you
channel
helps
ward
off
harm.
While
you
maintain
concentration
on
a
spell,
you
have
a
+2
bonus
to
AC
and
all
saving
throws.
DEFLECTING
SH
ROUD
At
14th
level,
your
Arcane
Deflection
becomes
infused
with
deadly
magic.
When
you
use
your
Arcane
Deflec-
tion
feature,
you
can
cause
magical
energy
to
are
from
you.
Up
to
three
creatures
of
your
choice
that
you
can
see
within
60
feet
of
you
each
take
force
damage
equal
to
half
your
wizard
level.
THIS
Is
YOUR
LIFE
The
character
creation
rules
in
the
Player’s
Handbook
provide
all
the
information
you
need
to
define
your
char-
acter
in
preparation
for
a
life
of
adventuring.
What
they
don't
do
is
account
for
all
the
circumstances
that
shaped
your
character
during
the
years
between
your
birth
and
the
start
of
your
career
as
a
member
of
a
class.
What
did
your
character
accomplish
or
experience
be-
fore
deciding
to
become
an
adventurer?
What
were
the
circumstances
of
your
birth?
How
large
is
your
family,
and
what
sorts
of
relationships
do
you
have
with
your
relatives?
Which
people
were
the
greatest
influences
on
you
during
your
formative
years,
for
better
or
worse?
To
answer
these
questions
and
more,
you
can
use
the
tables
and
the
advice
in
this
section
tO
compose
a
well-developed
backstory
for
your
character—an
auto-
biography
of
sorts—that
you
can
use
to
inform
how
you
roleplay
the
character.
Your
DM
can
draw
from
this
ma-
terial
as
the
campaign
proceeds,
creating
situations
and
scenarios
that
build
off
your
previous
life
experiences.
IDEAS,
NOT
RULES
Even
though
these
pages
are
full
Of
tables
and
die
rolls,
they
don’t
make
up
a
rules
system—in
fact,
the
Opposite
is
true.
You
can
use
as
much
or
as
little
Of
this
material
as
you
desire,
and
you
can
make
decisions
in
any
or—
der
you
want.
For
instance,
you
might
not
want
these
tables
to
help
you
decide
who
your
parents
and
siblings
are,
because
that’s
among
the
information
you’ve
already
come
up
with.
But
you
can
still
use
other
parts,
such
as
the
sec-
tion
on
life
events,
to
provide
added
depth
and
detail.
HOW
AND
WHEN
TO
USE
THE
TABLES
lfyou’re
comfortable
with
letting
the
dice
decide
a
cer-
tain
fact
about
your
character,
go
ahead
and
rOll.
If
not,
you
can
take
charge
and
make
the
decision,
choosing
from
among
the
possibilities
on
a
table.
Of
course,
you
also
have
the
option
of
disregarding
the
result
Of
a
die
roll
if
it
conflicts
with
another
result.
Likewise,
if
the
text
instructs
you
to
roll
on
a
table,
that’s
not
meant
tO
be
taken
literally.
You
can
always
make
your
own
choice.
Although
these
tables
are
meant
to
augment
the
step-by—step
character
creation
process
in
the
Player’s
Handbook,
they
don’t
occupy
a
specific
place
in
that
pro—
cess.
You
can
use
some
of
them
early
on—for
instance,
it’s
possible
to
determine
your
parents
and
other
family
members
immediately
after
deciding
your
character’s
race—but
you
could
also
wait
until
later
in
the
process.
You
might
prefer
to
establish
more
facts
about
your
character’s
game
identity—such
as
your
class,
ability
scores,
and
alignment—before
supplementing
that
infor-
mation
with
what‘s
offered
here.
SECTION
BY
SECTION
This
material
is
divided
into
four
sections,
each
address-
ing
a
different
aspect
ofyour
character’s
backstory.
Origins.
To
find
out
who
and
where
you
came
from,
use
the
“Origins"
section.
When
you’re
done,
you
will
have
a
summary
of
facts
about
your
parents,
your
sib-
lings,
and
the
circumstances
under
which
you
grew
up.
.
1‘
_
U
_-'
_
.
-
.-
__
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k
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vOUNo
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messes
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POUCH
AND,
TO
HER
SURPRISE,
BECOMES
THE
NEW
OWNER
OF
A
SPELLBODK
Personal
Decisions.
After
you
have
selected
your
character's
background
and
class,
use
the
appro—
priate
tables
tO
determine
how
you
came
to
make
those
choices.
Life
Events.
Your
character’s
existence
until
now,
no
matter
how
brief
or
uneventful,
has
been
marked
by
one
or
more
life
events—memorable
happenings
that
have
had
an
effect
on
who
you
are
today.
Supplemental
Tables.
Your
life
has
intersected
with.
the
lives
Of
plenty
Of
other
people,
all
the
way
from
your
infancy
tO
today.
When
a
result
mentions
such
a
person,
you
can
use
the
supplemental
tables
(page
72)
to
add
needed
details—such
as
race,
class,
or
occupation—to
that
person.
Some
tables
in
the
other
sections
direct
you
to
one
or
more
of
the
supplemental
tables,
and
you
can
also
use
them
any
other
time
you
see
fit.
ORIGINS
The
usual
first
step
in
creating
your
character’s
life
story
is
to
determine
your
early
circumstances.
Who
were
your
parents?
Where
were
you
born?
Did
you
have
any
siblings?
Who
raised
you?
You
can
address
these
ques—
tions
by
using
the
following
tables.
PARENTS
You
had
parents,
of
course,
even
if
they
didn't
raise
you.
To
determine
what
you
know
about
these
people,
use
the
Parents
table.
If
you
want,
you
can
roll
separately
on
the
table
for
your
mother
and
your
father.
Use
the
sup-
plemental
tables
as
desired
(particularly
Class,
Occupai
tion,
and
Alignment)
to
learn
more
about
your
parents.
So1
oil/1m:
qr:
clack.
{Fa-M?
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Anal
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(noel:
ulna
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‘1‘)“-
PARENTS
lO
Parents
01—95
You
know
who
your
parents
are
or
were.
96-00
You
do
not
know
who
your
parents
were.
Nonhuman
Parents.
If
your
character
is
a
half-elf,
a
half-ore,
or
a
tiefling,
you
can
use
one
of
the
tables
below
to
determine
the
race
of
each
of
your
parents.
When
you
have
a
result,
randomly
determine
which
part
of
the
re-
sult
refers
to
your
father
and
which
to
your
mother.
HALF-ELF
PARENTS
d8
Parents
1—5
One
parent
was
an
elfand
the
other
was
a
human.
6
One
parent
was
an
elf
and
the
other
was
a
half-elf.
7'
One
parent
was
a
human
and
the
other
was
a
half-
elf.
8
Both
parents
were
half—elves.
HALF-ORC
PARENTS
d8
Parents
1—3
One
parent
was
an
orc
and
the
other
was
a
human.
4-5
One
parent
was
an
ore
and
the
other
was
a
half-
orc.
6—?
One
parent
was
a
human
and
the
other
was
a
half-
orc.
8
Both
parents
were
half-ores.
TIEFLING
PARENTS
d8
Parents
1—4
Both
parents
were
humans,
their
infernal
heritage
dormant
until
you
came
along.
5—6
One
parent
was
a
tiefling
and
the
other
was
a
human.
7
One
parent
was
a
tiefling
and
the
other
was
a
devil.
3
One
parent
was
a
human
and
the
other
was
a
devil.
BIRTHPLACE
After
establishing
your
parentage,
you
can
determine
where
you
were
born
by
using
the
Birthplace
table.
(Modify
the
result
or
roll
again
if
you
get
a
result
that’s
inconsistent
with
what
you
know
about
your
parents.)
Once
you
have
a
result,
roll
percentile
dice.
On
a
roll
of
00,
a
strange
event
coincided
with
your
birth:
the
moon
briefly
turning
red,
all
the
milk
within
a
mile
spoiling,
the
water
in
the
area
freezing
solid
in
midsummer,
all
the
iron
in
the
home
rusting
or
turning
to
silver,
or
some
other
unusual
event
of
your
choice.
if
i
3
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5
BIRTH
PLACE
d100
Location
01—50
Home
51—55
Home
ofa
family
friend
56—63
Home
ofa
healer
or
midwife
64—65
Carriage,
cart,
or
wagon
66—68
Barn,
shed,
or
other
outbuilding
69—70
Cave
71—72
Field
73—74
Forest
75—77
Temple
78
Battlefield
79—80
Alley
or
street
81—82
Brothel,
tavern,
or
inn
83—84
Castle,
keep,
tower,
or
palace
85
Sewer
or
rubbish
heap
86—88
Among
people
ofa
difi'erent
race
89—9l
On
board
a
boat
or
a
ship
92—93
In
a
prison
or
in
the
headquarters
ofa
secret
orga-
nization
94—95
In
a
sage’s
laboratory
96
In
the
Feywild
97
in
the
Shadowfell
98
On
the
Astral
Plane
or
the
Ethereal
Plane
99
On
an
Inner
Plane
ofyour
choice
00
On
an
Outer
Plane
ofyour
choice
SIBLINGS
You
might
be
an
only
child
or
one
of
many
children.
Your
siblings
could
be
cherished
friends
or
hated
rivals.
Roll
on
the
Number
of
Siblings
table
to
determine
how
many
brothers
or
sisters
you
have.
If
you
are
a
dwarf
or
an
elf,
subtract
2
from
your
roll.
Then,
roll
on
the
Birth
Order
table
for
each
sibling
to
determine
that
person’s
age
relative
to
yours
(older,
younger,
or
born
at
the
same
time).
Occupation.
For
each
sibling
of
suitable
age,
roll
on
the
Occupation
supplemental
table
to
determine
what
that
person
does
for
a
living.
Alignment.
You
can
choose
your
siblings’
alignments
or
roll
on
the
Alignment
supplemental
table.
Status.
By
now,
each
of
your
siblings
might
be
alive
and
well,
alive
and
not
so
well,
in
dire
straits,
or
dead.
Roll
on
the
Status
supplemental
table.
Relationship.
You
can
roll
on
the
Relationship
sup—
plemental
table
to
determine
how
your
siblings
feel
about
you.
They
might
all
have
the
same
attitude
toward
you,
or
some
might
view
you
differently
from
how
the
others
do.
Other
Details.
You
can
decide
any
other
details
you
like
about
each
sibling,
including
gender,
personality,
and
place
in
the
world.
NUMBER
OF
SIBLINGS
dlD
Siblings
2or
lower
None
3—4
id3
5—6
1d4+1
7—8
id6+
2
9—10
1d3+
3
BIRTH
ORDER
2d6
Birth
Order
2
Twin,
triplet,
or
quadruplet
3—?
Older
3—12
Younger
FAMILY
AND
FRIENDS
Who
raised
you,
and
what
was
life
like
for
you
when
you
were
growing
up?
You
might
have
been
raised
by
your
parents,
by
relatives,
or
in
an
orphanage.
Or
you
could
have
spent
your
childhood
on
the
streets
of
a
crowded
city
with
only
your
fellow
runaways
and
orphans
to
keep
you
company.
Use
the
Family
table
to
determine
who
raised
you.
If
you
know
who
your
parents
are
but
you
get
a
result
that
does
not
mention
one
or
both
of
them,
use
the
Absent
Parent
table
to
determine
what
happened.
Next,
refer
to
the
Family
Lifestyle
table
to
determine
the
general
circumstances
of
your
upbringing.
(Chapter
5
of
the
Player’s
Handbook
has
more
information
about
lifestyles.)
The
result
on
that
table
includes
a
number
that
is
applied
to
your
roll
on
the
Childhood
Home
table,
which
tells
you
where
you
spent
your
early
years.
Wrap
up
this
section
by
using
the
Childhood
Memories
table,
which
tells
you
how
you
were
treated
by
other
young-
sters
as
you
were
growing
up.
Supplemental
Tables.
You
can
roll
on
the
Relation—
ship
table
to
determine
how
your
family
members
or
other
important
figures
in
your
life
feel
about
you.
You
can
also
use
the
Race,
Occupation,
and
Alignment
ta—
bles
to
learn
more
about
the
family
members
or
guard-
ians
who
raised
you.
FAMILY
{“00
Family
01
None
02
Institution,
such
as
an
asylum
03
Temple
04—05
Orphanage
06—07
Guardian
08—i5
Paternal
or
maternal
aunt,
uncle,
or
both;
or
ex—
tended
family
such
as
a
tribe
or
clan
16—25
Paternal
or
maternal
grandparent(s)
26—35
Adoptive
family
(same
or
different
race)
36—55
Single
father
or
stepfather
56—?5
Single
mother
or
stepmother
76—00
Mother
and
father
Yams
LATER,
WHILE
gem-mo
ON
a
suits-'5
anew.
sue
CALLS
ON
A
BIT
OF
HER
|".-'l;"1tC:|C
TO
HELD
RIC:
A
MEET
ABSENT
PARENT
d4
Fate
1
Your
parent
died
(roll
on
the
Cause
of
Death
sup-
plemental
table).
2
Your
parent
was
imprisoned,
enslaved,
or
other-
wise
taken
away.
Your
parent
abandoned
you.
4
You}
parent
disappeared
to
an
unknown
fate.
FAMILY
LIFESTYLE
3d6
Lifestyle"-‘
3
Wretched
(—40)
4—5
Squalid
(—20)
6—8
Poor
(—lO)
9—12
Modest
(+0)
13—15
Comfortable
(+10)
16—17
Wealthy
(+20)
18
Aristocratic
(+40)
*Use
the
number
in
this
result
as
a
modifier
to
your
roll
on
the
Childhood
Home
table.
3d6
+
THouovcmaesunvweo'naesrwknusosiaenswip,waeLosr
ALL
HER
WORLDLY
GOODS—EXCEPT
FOR
HER
SPELLBOOK
CHILDHOOD
HOME
til
00""
0
or
lower
l—20
21—30
31—40
41—50
51-70
71-90
91—110
111
or
higher
*After
making
this
roll,
apply
the
modifier
from
the
Family
Life-
Home
On
the
streets
Rundown
shack
No
permanent
residence;
you
moved
around
a
lot
Encampment
or
village
in
the
wilderness
Apartment
in
a
rundown
neighborhood
Small
house
Large
house
Mansion
Palace
or
castle
style
table
to
arrive
at
the
result.
CHILDHOOD
MEMORIES
3d6
+
Cha
mod
3
or
lower
4—5
6—8
9—12
Memory
lam
still
haunted
by
my
childhood,
when
l
was
treated
badly
by
my
peers.
I
spent
most
of
my
childhood
alone,
with
no
close
friends.
Others
saw
me
as
being
diiferent
or
strange,
and
sol
had
few
companions.
I
had
a
few
close
friends
and
lived
an
ordinary
cthood.
I
E'ills‘t
E’Tlift
l
I
i_,‘.l-l.r'\lii..-\L'ITl-'.lt
(gill-"llitllfx'lii
Cha
mod
Memory
13—15
I
had
several
friends,
and
my
childhood
was
generally
a
happy
one.
16—17
1
always
found
it
easy
to
make
Friends,
and
I
loved
being
around
people.
18
or
higher
Everyone
knew
who
I
was,
and
I
had
friends
everywhere
I
went.
PERSONAL
DECISIONS
Your
character’s
life
takes
a
particular
course
depend-
ing
on
the
choices
you
make
for
the
character’s
back-
ground
and
class.
BACKGROUND
Roll
on
the
appropriate
table
in
this
section
as
soon
as
you
decide
your
background,
or
at
any
later
time
if
you
choose.
If
a
background
includes
a
special
decision
point,
such
as
a
folk
hero’s
defining
event
or
the
spe—
cialty
of
a
criminal
or
a
sage,
it’s
best
to
make
that
deter-
mination
before
using
the
pertinent
table
below.
ACOLYTE
d6
I
became
an
acolyte
because
l
I
ran
away
from
home
at
an
early
age
and
found
refuge
in
a
temple.
2
My
family
gave
me
to
a
temple,
since
they
were
un-
able
or
unwilling
to
care
for
me.
3
I
grew
up
in
a
household
with
strong
religious
con-
victions.
Entering
the
service
ofone
or
more
gods
seemed
natural.
4
An
impassioned
sermon
struck
a
chord
deep
in
my
soul
and
moved
me
to
serve
the
faith.
5
I
followed
a
childhood
friend,
a
respected
acquain-
tance,
or
someone
I
loved
into
religious
service.
6
After
encountering
a
true
servant
ofthe
gods,
l
was
so
inspired
that
I
immediately
entered
the
service
ofa
religious
group.
CHARLATAN
d6
I
became
a
charlatan
because
l
l
was
left
to
my
own
devices,
and
my
knack
for
ma-
nipulating
others
helped
me
survive.
2
I
learned
early
on
that
people
are
gullible
and
easy
to
exploit.
3
I
often
got
in
trouble,
but
I
managed
to
talk
my
way
out
ofit
every
time.
4
I
took
up
with
a
confidence
artist,
from
whom
I
learned
my
craft.
5
After
a
charlatan
fleeced
my
family,
I
decided
to
learn
the
trade
so
I
would
never
be
fooled
by
such
deception
again.
6
I
was
poor
or
I
feared
becoming
poor,
sol
learned
the
tricks
I
needed
to
keep
myselfout
of
poverty.
‘__._..._._.._...._._..----.—.
CRIMINAL
d6
1
I
became
a
criminal
because
|
resented
authority
in
my
younger
days
and
saw
a
life
ofcrime
as
the
best
way
to
fight
against
tyranny
and
oppression.
Necessity
forced
me
to
take
up
the
life,
since
it
was
the
only
way
I
could
survive.
I
fell
in
with
a
gang
of
reprobates
and
ne’er-do-
wells,
and
I
learned
my
specialty
from
them.
A
parent
or
relative
taught
me
my
criminal
spe—
cialty
to
prepare
me
for
the
family
business.
I
left
home
and
found
a
place
in
a
thieves’
guild
or
some
other
criminal
organization.
I
was
always
bored,
so
I
turned
to
crime
to
pass
the
time
and
discovered
I
was
quite
good
at
it.
ENTERTAINER
d6
I
became
an
entertainer
because
1
Members
ofmy
family
made
ends
meet
by
per-
forming,
so
it
was
fitting
for
me
to
follow
their
example.
2
|
always
had
a
keen
insight
into
other
people,
enough
so
that
I
could
make
them
laugh
or
cry
with
my
stories
or
songs.
3
I
ran
away
from
home
to
follow
a
minstrel
troupe.
4
I
saw
a
bard
perform
once,
and
I
knew
from
that
moment
on
what
I
was
born
to
do.
5
I
earned
coin
by
performing
on
street
corners
and
eventually
made
a
name
for
myself.
6
A
traveling
entertainer
took
me
in
and
taught
me
the
trade.
FOLK
HERO
d6
I
became
a
folk
hero
because
i
I
learned
what
was
right
and
wrong
from
my
family.
2
I
was
always
enamored
by
tales
of
heroes
and
wished
I
could
be
something
more
than
ordinary.
3
I
hated
my
mundane
life,
so
when
it
was
time
for
someone
to
step
up
and
do
the
right
thing,
I
took
my
chance.
4
A
parent
or
one
of
my
relatives
was
an
adventurer,
and
l
was
inspired
by
that
person’s
courage.
5
A
mad
old
hermit
spoke
a
prophecy
when
l
was
born,
saying
that
I
would
accomplish
great
things.
6
l
have
always
stood
up
for
those
who
are
weaker
than
I
am.
GUILD
ARTISAN
d6
1
I
became
a
guild
artisan
because
l
was
apprenticed
to
a
master
who
taught
me
the
guild’s
business.
i
helped
a
guild
artisan
keep
a
secret
or
complete
a
task,
and
in
return
I
was
taken
on
as
an
apprentice.
d6
I
became
a
guild
artisan
because
3
One
of
my
family
members
who
belonged
to
the
guild
made
a
place
for
me.
4
l
was
always
good
with
my
hands,
so
I
took
the
op-
portunity
to
learn
a
trade.
5
I
wanted
to
get
away
from
my
home
situation
and
start
a
new
life.
6
I
learned
the
essentials
of
my
craft
from
a
mentor
but
had
to
join
the
guild
to
finish
my
training.
HERM
IT
d6
I
became
a
hermit
because
1
My
enemies
ruined
my
reputation,
and
|
fled
to
the
wilds
to
avoid
further
disparagement.
2
I
am
comfortable
with
being
isolated,
as
I
seek
inner
peace.
3
I
never
liked
the
people
I
called
my
friends,
so
it
was
easy
for
me
to
strike
out
on
my
own.
4
I
felt
compelled
to
forsake
my
past,
but
did
so
with
great
reluctance,
and
sometimes
I
regret
making
that
decision.
5
I
lost
everything—my
home,
my
family,
my
friends.
Going
it
alone
was
all
I
could
do.
6
Society's
decadence
disgusted
me,
so
I
decided
to
leave
it
behind.
NOBLE
d6
I
became
a
noble
because
l
I
come
from
an
old
and
storied
family,
and
it
fell
to
me
to
preserve
the
family
name.
2
My
family
has
been
disgraced,
and
I
intend
to
clear
our
name.
3
My
family
recently
came
by
its
title,
and
that
eleva—
tion
thrust
us
into
a
new
and
strange
world.
4
My
family
has
a
title,
but
none
of
my
ancestors
have
distinguished
themselves
since
we
gained
it.
5
My
family
is
filled
with
remarkable
people.
I
hope
to
live
up
to
their
example.
6
I
hope
to
increase
my
family’s
power
and
influence.
OUTLANDER
d6
I
became
an
outlander
because
l
I
spent
a
lot
oftime
in
the
wilderness
as
a
young-
ster,
and
I
came
to
love
that
way
oflife.
2
From
a
young
age,
I
couldn't
abide
the
stink
ofthe
cities
and
preferred
to
spend
my
time
in
nature.
3
I
came
to
understand
the
darkness
that
lurks
in
the
wilds,
and
l
vowed
to
combat
it.
4
My
people
lived
on
the
edges
ofcivilization,
and
i
learned
the
methods
ofsurvival
from
my
family.
5
After
a
tragedy
l
retreated
to
the
wilderness,
leav-
ing
my
old
life
behind.
6
My
family
moved
away
from
civilization,
and
I
learned
to
adapt
to
my
new
environment.
if.
H
.-'I.
l"'i'l'.l71
1
5:
L.‘
l i
.-'~
l‘!
-'\i._i'i'1-..
l\:
‘5.
1‘
l"|_l
{.l
.‘y'
.6
A
.._l
._. .
_‘_..
--
—_.
|
_
|
SAGE
l
d6
I
became
a
sage
because
I
'l
I
was
naturally
curious,
so
I
packed
up
and
went
to
a
university
to
learn
more
about
the
world.
2
My
mentor’s
teachings
opened
my
mind
to
new
possibilities
in
that
field
of
study.
3
l
was
always
an
avid
reader,
and
I
learned
much
I
about
my
favorite
topic
on
my
own.
4
I
discovered
an
old
library
and
pored
over
the
texts
I
found
there.
That
experience
awakened
a
hunger
i
for
more
knowledge.
,
5
|
impressed
a
wizard
who
told
me
I
was
squander-
ing
my
talents
and
should
seek
out
an
education
to
take
advantage
of
my
gifts.
6
One
of
my
parents
or
a
relative
gave
me
a
basic
ed-
ucation
that
whetted
my
appetite,
and
I
left
home
to
build
on
what
I
had
learned.
SAILOR
'
d6
I
became
a
sailor
because
l
i
l
was
press-ganged
by
pirates
and
forced
to
serve
on
their
ship
until
I
finally
escaped.
i
2
I
wanted
to
see
the
world,
so
I
signed
on
as
a
deck-
!
hand
for
a
merchant
ship.
3
One
of
my
relatives
was
a
sailor
who
took
me
to
l
l
4
I
needed
to
escape
my
community
quickly,
so
I
l
stowed
away
on
a
ship.
When
the
crew
found
me,
|
[
was
forced
to
work
for
my
passage.
I'
5
Reavers
attacked
my
community,
so
I
found
refuge
on
a
ship
until
I
could
seek
vengeance.
6
I
had
few
prospects
where
l
was
living,
so
I
left
to
find
my
fortune
elsewhere.
i
SOLDIER
d6
I
became
a
soldier
because
I
'l
i
joined
the
militia
to
help
protect
my
community
from
monsters.
2
A
relative
of
mine
was
a
soldier,
and
I
wanted
to
i
carry
on
the
family
tradition.
.I:
3
The
local
lord
forced
me
to
enlist
in
the
army.
4
War
ravaged
my
homeland
while
I
was
growing
up.
Fighting
was
the
only
life
i
ever
knew.
5
i
wanted
fame
and
fortune,
so
i
joined
a
mercenary
5
company,
selling
my
sword
to
the
highest
bidder.
6
Invaders
attacked
my
homeland.
It
was
my
duty
to
take
up
arms
in
defense
of
my
people.
URCHIN
”
.
ll
d6
I
became
an
urchin
because
It
__
i
Wanderlust
caused
me
to
leave
my
family
to
see
1%?
the
world.
I
look
after
myself.
TR
2
I
ran
away
from
a
bad
situation
at
home
and
made
I.
I
my
own
way
in
the
world.
in,
{Iii
§'=‘I'1'
it
i
l
Lit-"t
P..*~.i..'i't.
5-1
iii"!"!tf.>f-¢s‘
d6
I
became
an
urchin
because
Monsters
wiped
out
my
village,
and
I
was
the
sole
survivor.
I
had
to
find
a
way
to
survive.
A
notorious
thieflooked
after
me
and
other
or-
phans,
and
we
spied
and
stole
to
earn
our
keep.
One
day
I
woke
up
on
the
streets,
alone
and
hun-
gry,
with
no
memory
of
my
early
childhood.
My
parents
died,
leaving
no
one
to
look
after
me.
I
raised
myself.
CLASS
TRAINING
If
you
haven’t
chosen
your
class
yet,
do
so
now,
keeping
in
mind
your
background
and
all
the
other
details
you
have
established
so
far.
Once
you’ve
made
your
selec—
tion,
roll
a
(16
and
find
the
number
you
rolled
on
the
ap-
propriate
table
in
this
section,
which
describes
how
you
came
to
be
a
member
of
that
class.
The
class
sections
earlier
in
this
chapter
have
further
story
suggestions,
which
you
can
use
in
concert
with
the
material
here.
BARBARIAN
d6
1
BARD
d6
I
became
a
barbarian
because
My
devotion
to
my
people
lifted
me
in
battle,
mak-
ing
me
powerful
and
dangerous.
The
spirits
of
my
ancestors
called
on
me
to
carry
out
a
great
task.
I
lost
control
in
battle
one
day,
and
it
was
as
if
something
else
was
manipulating
my
body,
forcing
it
to
kill
every
foe
I
could
reach.
i
went
on
a
spiritual
journey
to
find
myselfand
instead
found
a
spirit
animal
to
guide,
protect,
and
inspire
me.
I
was
struck
by
lightning
and
lived.
Afterward,
I
found
a
new
strength
within
me
that
let
me
push
beyond
my
limitations.
My
anger
needed
to
be
channeled
into
battle,
or
i
risked
becoming
an
indiscriminate
killer.
I
became
a
bard
because
l
awakened
my
latent
bardic
abilities
through
trial
and
error.
i
was
a
gifted
performer
and
attracted
the
atten-
tion
ofa
master
bard
who
schooled
me
in
the
old
techniques.
I
joined
a
loose
society
of
scholars
and
orators
to
learn
new
techniques
of
performance
and
magic.
i
felt
a
calling
to
recount
the
deeds
of
champions
and
heroes,
to
bring
them
alive
in
song
and
story.
I
joined
one
ofthe
great
colleges
to
learn
old
lore,
the
secrets
of
magic,
and
the
art
ofperformance.
I
picked
up
a
musical
instrument
one
day
and
in-
stantly
discovered
that
I
could
play
it.
I
became
a
cleric
because
'I
A
supernatural
being
in
service
to
the
gods
called
me
to
become
a
divine
agent
in
the
world.
2
I
saw
the
injustice
and
horror
in
the
world
and
felt
moved
to
take
a
stand
against
them.
3
My
god
gave
me
an
unmistakable
sign.
i
dropped
everything
to
serve
the
divine.
4
Although
I
was
always
devout,
it
wasn't
until
I
com-
pleted
a
pilgrimage
that
I
knew
my
true
calling.
5
I
used
to
serve
in
my
religion's
bureaucracy
but
found
I
needed
to
work
in
the
world,
to
bring
the
message
of
my
faith
to
the
darkest
corners
ofthe
land.
6
I
realize
that
my
god
works
through
me,
and
I
do
as
commanded,
even
though
I
don’t
know
why
I
was
chosen
to
serve.
Demo
d6
I
became
a
druid
because
i
I
saw
too
much
devastation
in
the
wild
places,
too
much
of
nature’s
splendor
ruined
by
the
despoil-
ers.
I
joined
a
circle
ofdruids
to
fight
back
against
the
enemies
of
nature.
2
I
found
a
place
among
a
group
ofdruids
after
I
fled
a
catastrophe.
3
I
have
always
had
an
affinity
for
animals,
so
I
ex-
plored
my
talent
to
see
how
I
could
best
use
it.
4
l
befriended
a
druid
and
was
moved
by
druidic
teachings.
i
decided
to
follow
my
friend’s
guidance
and
give
something
back
to
the
world.
5
Whiie
l
was
growing
up,
I
saw
spirits
all
around
me—entities
no
one
else
could
perceive.
I
sought
out
the
druids
to
help
me
understand
the
visions
and
communicate
with
these
beings.
6
l
have
always
felt
disgust
for
creatures
of
unnatural
origin.
For
this
reason,
i
immersed
myselfin
the
study
ofthe
druidic
mysteries
and
became
a
cham-
pion
ofthe
natural
order.
FIGHTER
d6
I
became
a
fighter
because
i
i
wanted
to
hone
my
combat
skills,
and
so
I
joined
a
war
college.
2
Isquired
for
a
knight
who
taught
me
how
to
fight,
care
for
a
steed,
and
conduct
myselfwith
honor.
I
decided
to
take
up
that
path
for
myself.
3
Horrible
monsters
descended
on
my
community,
killing
someone
I
loved.
I
took
up
arms
to
destroy
those
creatures
and
others
ofa
similar
nature.
4
I
joined
the
army
and
learned
how
to
fight
as
part
ofa
group.
5
I
grew
up
fighting,
and
I
refined
my
talents
by
de-
fending
myself
against
people
who
crossed
me.
6
1
could
always
pick
up
just
about
any
weapon
and
know
how
to
use
it
effectively.
A
\VllARD
OF
GREAT
RENOWN
WlTH
A
FLAIR
FOR
THE
HIGH
SEAS
MONK
d6
1
TODAY,
HER
HUMBLE
ORIGINS
FAR
BEHlNU
HER,
SHE
HAS
BECOME
I
became
a
monk
because
l
was
chosen
to
study
at
a
secluded
monastery.
There,
I
was
taught
the
fundamental
techniques
required
to
eventually
master
a
tradition.
I
sought
instruction
to
gain
a
deeper
understand-
ing‘of
existence
and
my
place
in
the
world.
I
stumbled
into
a
portal
to
the
Shadowfell
and
took
refuge
in
a
strange
monastery,
where
I
learned
how
to
defend
myselfagainst
the
forces
ofdarkness.
l
was
overwhelmed
with
grief
after
losing
someone
close
to
me,
and
I
sought
the
advice
ofphiloso-
phers
to
help
me
cope
with
my
loss.
I
could
feel
that
a
special
sort
of
power
lay
within
me,
so
I
sought
out
those
who
could
help
me
call
it
forth
and
master
it.
I
was
wild
and
undisciplined
as
a
youngster,
but
then
I
realized
the
error
of
my
ways.
I
applied
to
a
monastery
and
became
a
monk
as
a
way
to
live
a
life
ofdiscipline.
i
ii“.
i“
if
it
l
i.
llsl‘il‘l.
it.
i'l.'.i-.‘.
“3‘
l
ltthfi
PALADIN
d6
1
RANGER
d6
1
I
became
a
paladin
because
A
fantastical
being
appeared
before
me
and
called
on
me
to
undertake
a
holy
quest.
One
of
my
ancestors
left
a
holy
quest
unfulfilled,
sol
intend
to
finish
that
work.
The
world
is
a
dark
and
terrible
place.
l
decided
to
serve
as
a
beacon
of
light
shining
out
against
the
gathering
shadows.
l
served
as
a
paladin’s
squire,
learning
all
I
needed
to
swear
my
own
sacred
oath.
Evil
must
be
opposed
on
all
fronts.
|
feel
com-
pelled
to
seek
out
wickedness
and
purge
it
from
the
world.
Becoming
a
paladin
was
a
natural
consequence
of
my
unwavering
faith.
In
taking
my
vows,
I
became
the
holy
sword
of
my
religion.
I
became
a
ranger
because
I
found
purpose
while
I
honed
my
hunting
skills
by
bringing
down
dangerous
animals
at
the
edge
of
civilization.
I
always
had
a
way
with
animals,
able
to
calm
them
with
a
soothing
word
and
a
touch.
I
suffer
from
terrible
wanderlust,
so
being
a
ranger
gave
me
a
reason
not
to
remain
in
one
place
for
toolong.
I
have
seen
what
happens
when
the
monsters
come
out
from
the
dark.
I
took
it
upon
myselfto
become
the
first
line
of
defense
against
the
evils
that
lie
beyond
civilization's
borders.
i
met
a
grizzled
ranger
who
taught
me
woodcraft
and
the
secrets
ofthe
wild
lands.
I
served
in
an
army,
learning
the
precepts
of
my
profession
while
blazing
trails
and
scouting
enemy
encampments.
I
became
a
rogue
because
I've
always
been
nimble
and
quick
ofwit,
so
1
de-
cided
to
use
those
talents
to
help
me
make
my
way
in
the
world.
An
assassin
or
a
thiefwronged
me,
so
I
focused
my
training
on
mastering
the
skills
of
my
enemy
to
better
combat
foes
ofthat
sort.
An
experienced
rogue
saw
something
in
me
and
taught
me
several
useful
tricks.
I
decided
to
turn
my
natural
lucky
streak
into
the
basis
ofa
career,
though
I
still
realize
that
improv-
ing
my
skills
is
essential.
I
took
up
with
a
group
of
ruffians
who
showed
me
how
to
get
what
I
want
through
sneakiness
rather
than
direct
confrontation.
I’m
a
sucker
for
a
shiny
bauble
or
a
sack
of
coins,
as
long
as
I
can
get
my
hands
on
it
without
risking
life
and
limb.
SORCERER
d6
1
I
became
a
sorcerer
because
When
I
was
born,
all
the
water
in
the
house
froze
solid.
the
milk
spoiled,
or
all
the
iron
turned
to
cop-
per.
My
family
is
convinced
that
this
event
was
a
harbinger
of
stranger
things
to
come
for
me.
I
suffered
a
terrible
emotional
or
physical
strain,
which
brought
forth
my
latent
magical
power.
l
have
fought
to
control
it
ever
since.
My
immediate
family
never
spoke
of
my
ancestors,
and
when
I
asked,
they
would
change
the
subject.
It
wasn't
until
I
started
displaying
strange
talents
that
the
full
truth
of
my
heritage
came
out.
When
a
monster
threatened
one
of
my
friends,
I
became
filled
with
anxiety.
I
lashed
out
instinctively
and
blasted
the
wretched
thing
with
a
force
that
came
from
within
me.
Sensing
something
special
in
me,
a
strangertaught
me
how
to
control
my
gift.
After
I
escaped
from
a
magical
conflagration,
I
realized
that
though
I
was
unharmed,
I
was
not
unchanged.
I
began
to
exhibit
unusual
abilities
that
lam
just
beginning
to
understand.
WARLOCK
d6
1
I
became
a
warlock
because
While
wandering
around
in
a
forbidden
place,
I
encountered
an
otherworldly
being
that
offered
to
enter
into
a
pact
with
me.
I
was
examining
a
strange
tome
I
found
in
an
aban~
cloned
library
when
the
entity
that
would
become
my
patron
suddenly
appeared
before
me.
d6
I
became
a
warlock
because
3
I
stumbled
into
the
clutches
of
my
patron
after
I
ac—
cidentally
stepped
through
a
magical
doorway.
4
When
I
was
faced
with
a
terrible
crisis,
I
prayed
to
any
being
who
would
listen,
and
the
creature
that
answered
became
my
patron.
5
My
future
patron
visited
me
in
my
dreams
and
of—
fered
great
power
in
exchange
for
my
service.
6
One
of
my
ancestors
had
a
pact
with
my
patron,
so
that
entity
was
determined
to
bind
me
to
the
same
agreement.
WIZARD
d6
I
became
a
wizard
because
1
An
old
wizard
chose
me
from
among
several
candi-
dates
to
serve
an
apprenticeship.
2
When
I
became
lost
in
a
forest,
a
hedge
wizard
found
me,
took
me
in,
and
taught
me
the
rudi-
ments
of
magic.
3
I
grew
up
listening
to
tales
of
great
wizards
and
knew
I
wanted
to
follow
their
path.
I
strove
to
be
accepted
at
an
academy
of
magic
and
succeeded.
4
One
of
my
relatives
was
an
accomplished
wizard
who
decided
l
was
smart
enough
to
learn
the
craft.
5
While
exploring
an
old
tomb,
library,
or
temple,
I
found
a
spellbook.
I
was
immediately
driven
to
learn
all
I
could
about
becoming
a
wizard.
6
I
was
a
prodigy
who
demonstrated
mastery
ofthe
arcane
arts
at
an
early
age.
When
I
became
old
enough
to
set
out
on
my
own,
I
did
so
to
learn
more
magic
and
expand
my
power.
LIFE
EVENTS
No
matter
how
long
you’ve
been
alive,
you
have
expe—
rienced
at
least
one
signature
event
that
has
markedly
influenced
your
character.
Life
events
include
wondrous
happenings
and
tragedies,
conflicts
and
successes,
and
encounters
with
the
unusual.
They
can
help
to
explain
why
your
character
became
an
adventurer,
and
some
might
still
affect
your
life
even
after
they
are
long
over.
The
older
a
character
is,
the
greater
the
chance
for
multiple
life
events,
as
shown
on
the
Life
Events
by
Age
table.
If
you
have
already
chosen
your
character’s
start-
ing
age,
see
the
entry
in
the
Life
Events
column
that
corresponds
to
how
old
you
are.
Otherwise.
you
can
roll
dice
to
determine
your
current
age
and
number
of
life
events
randomly.
After
you
know
the
number
of
life
events
your
charac—
ter
has
experienced,
roll
once
on
the
Life
Events
table
for
each
of
them.
Many
of
the
results
on
that
table
direct
you
to
one
of
the
secondary
tables
that
follow.
Once
you
have
determined
all
of
your
character’s
life
events,
you
can
arrange
them
in
any
chronological
order
you
see
fit.
LIFE
EVENTS
BY
AGE
d100
0l—20
21—59
60—69
70—89
90—99
00
Current
Age
Life
Events
20
years
or
younger
1
21—30
years
ld4
31—40
years
ld6
41—50
years
ld8
51~60
years
ll
61
years
or
older
ldlZ
LIFE
EVENTS
d'IOO
01-10
11-20
21—30
31—40
41—50
Sle70
71—75
76—80
81—85
86—90
9l-95
96—99
00
Event
You
suffered
a
tragedy.
Roll
on
the
Tragedies
table.
You
gained
a
bit
of
good
fortune.
Roll
on
the
Boons
table.
You
fell
in
love
or
got
married.
lfyou
get
this
result
more
than
once,
you
can
choose
to
have
a
child
instead.
Work
with
your
DM
to
determine
the
iden-
tity
of
your
love
interest.
You
made
an
enemy
of
an
adventurer.
Roll
a
d6.
An
odd
number
indicates
you
are
to
blame
for
the
rift,
and
an
even
number
indicates
you
are
blameless.
Use
the
supplemental
tables
and
work
with
your
DM
to
determine
this
hostile
character's
identity
and
the
danger
this
enemy
poses
to
you.
You
made
a
friend
ofan
adventurer.
Use
the
sup-
plemental
tables
and
work
with
your
DM
to
add
more
detail
to
this
friendly
character
and
establish
how
your
friendship
began.
You
Spent
time
working
in
a
job
related
to
your
background.
Start
the
game
with
an
extra
2d6
gp.
You
met
someone
important.
Use
the
supplemen-
tal
tables
to
determine
this
character's
identity
and
how
this
individual
feels
about
you.
Work
out
ad
ditional
details
with
your
DM
as
needed
to
fit
this
character
into
your
backstory.
You
went
on
an
adventure.
Roll
on
the
Adventures
table
to
see
what
happened
to
you.
Work
with
your
DM
to
determine
the
nature
ofthe
adventure
and
the
creatures
you
encountered.
You
had
a
supernatural
experience.
Roll
on
the
Su-
pernatural
Events
table
to
find
out
what
it
was.
You
fought
in
a
battle.
Roll
on
the
War
table
to
leafn
what
happened
to
you.
Work
with
your
DM
to
come
up
with
the
reason
for
the
battle
and
the
fac-
tions
involved.
It
might
have
been
a
small
conflict
between
your
community
and
a
band
oforcs,
or
it
could
have
been
a
major
battle
in
a
larger
war.
You
committed
a
crime
or
were
wrongly
accused
of
doing
so.
Roll
on
the
Crime
table
to
determine
the
nature
ofthe
offense
and
on
the
Punishment
table
to
see
what
became
ofyou.
You
encountered
something
magical.
Roll
on
the
Arcane
Matters
table.
Something
truly
strange
happened
to
you.
Roll
on
i
the
Weird
Stufftable.
ll—ZO
21—30
l
31—40
41—50
51—60
61—70
71—80
81-90
9l—99
l
00
SECONDARY
TABLES
These
tables
add
detail
to
many
of
the
results
on
the
Life
Events
table.
The
tables
are
in
alphabetical
order.
ADVENTURES
d'IOO
Outcome
01—10
You
nearly
died.
You
have
nasty
scars
on
your
body,
and
you
are
missing
an
ear,
ld3
fingers,
or
ld4
toes.
You
suffered
a
grievous
injury.
Although
the
wound
healed,
it
still
pains
you
from
time
to
time.
You
were
wounded,
but
in
time
you
fully
recovered.
You
contracted
a
disease
while
exploring
a
filthy
warren.
You
recovered
from
the
disease,
but
you
have
a
persistent
cough,
pockmarks
on
your
skin,
or
prematurely
gray
hair.
You
were
poisoned
by
a
trap
or
a
monster.
You
re-
covered,
but
the
next
time
you
must
make
a
saving
throw
against
poison,
you
make
the
saving
throw
with
disadvantage.
You
lost
something
of
sentimental
value
to
you
during
your
adventure.
Remove
one
trinket
from
your
possessions.
You
were
terribly
frightened
by
something
you
en—
countered
and
ran
away,
abandoning
your
compan-
ions
to
their
fate.
You
learned
a
great
deal
during
your
adventure.
The
next
time
you
make
an
ability
check
or
a
saving
throw,
you
have
advantage
on
the
roll.
You
found
some
treasure
on
your
adventure.
You
have
2d6
gp
left
from
your
share
of
it.
You
found
a
considerable
amount
oftreasure
on
your
adventure.
You
have
ld20
+
50
gp
left
from
your
share
ofit.
You
came
across
a
common
magic
item
(ofthe
DM’s
choice).
i
ARCANE
MATTERS
d'lO
l
i
2
U1
\DDOMU"
_|
C)
Magical
Event
You
were
charmed
or
frightened
by
a
spell.
You
were
injured
by
the
effect
ofa
spell.
You
witnessed
a
powerful
spell
being
cast
by
a
cleric,
a
druid,
a
sorcerer,
a
warlock,
or
a
wizard.
You
drank
a
potion
(ofthe
DM's
choice).
You
found
a
spell
scroll
(ofthe
DM's
choice)
and
succeeded
in
casting
the
Spell
it
contained.
You
were
affected
by
teleportation
magic.
You
turned
invisible
for
a
time.
You
identified
an
illusion
for
what
it
was.
You
saw
a
creature
being
conjured
by
magic.
Your
fortune
was
read
by
a
diviner.
Roll
twice
on
the
Life
Events
table,
but
don’t
apply
the
results.
Instead,
the
DM
picks
one
event
as
a
portent
of
your
future
(which
might
or
might
not
come
true).
.
.i'
f;
1
{Lil
\i:.-'~.ti'i'if.
F1
i‘fi‘ii"‘l'ii_)'§~.s
Boous
d10
Boon
l
A
friendly
wizard
gave
you
a
spell
scroll
containing
one
cantrip
(ofthe
DM's
choice).
2
You
saved
the
life
ofa
commoner,
who
now
owes
you
a
life
debt.
This
individual
accompanies
you
on
your
travels
and
performs
mundane
tasks
for
you,
but
will
leave
if
neglected,
abused,
or
imperiled.
Determine
details
about
this
character
by
using
the
supplemental
tables
and
working
with
your
DM.
3
You
found
a
riding
horse.
4
You
found
some
money.
You
have
ld20
gp
in
addi—
tion
to
your
regular
starting
funds.
5
A
relative
bequeathed
you
a
simple
weapon
ofyour
choice.
6
You
found
something
interesting.
You
gain
one
additional
trinket.
7
You
once
performed
a
service
for
a
local
temple.
The
next
time
you
visit
the
temple,
you
can
receive
healing
up
to
your
hit
point
maximum.
8
A
friendly
alchemist
gifted
you
with
a
potion
of
healing
or
a
flask
ofacid,
as
you
choose.
9
You
found
a
treasure
map.
10
A
distant
relative
left
you
a
stipend
that
enables
you
to
live
at
the
comfortable
lifestyle
for
id20
years.
lfyou
choose
to
live
at
a
higher
lifestyle,
you
reduce
the
price
ofthe
lifestyle
by
2
gp
during
that
time
period.
CRIME
d8
Crime
1
Murder
2
Theft
3
Burglary
4
Assault
5
Smuggling
6
Kidnapping
7
Extortion
8
Counterfeiting
Pu
N
IS
H
M
E
NT
d12
Punishment
1—3
You
did
not
commit
the
crime
and
were
exonerated
after
being
accused.
4—6
You
committed
the
crime
or
helped
do
so,
but
nonetheless
the
authorities
found
you
not
guilty.
7—8
You
were
nearly
caught
in
the
act.
You
had
to
flee
and
are
wanted
in
the
community
where
the
crime
occurred.
9—12
You
were
caught
and
convicted.
You
spent
time
in
jail,
chained
to
an
oar,
or
performing
hard
labor.
You
served
a
sentence
ofld4
years
or
succeeded
in
escaping
after
that
much
time.
SUPERNATURAL
EVENTS
d1
00
01—05
06——1
0
11-15
16—20
21——30
31
—-40
41
—50
51—60
61
—70
71—75
?6—30
81—85
36—90
91—95
96—00
Event
You
were
ensorcelled
by
a
fey
and
enslaved
for
1d6
years
before
you
escaped.
You
saw
a
demon
and
ran
away
before
it
could
do
anything
to
you.
A
devil
tempted
you.
Make
a
DC
10
Wisdom
saving
throw.
On
a
failed
save,
your
alignment
shifts
one
step
toward
evil
(ifit‘s
not
evil
already),
and
you
start
the
game
with
an
additional
1d20
+
50
gp.
You
woke
up
one
morning
miles
from
your
home,
with
no
idea
how
you
got
there.
You
visited
a
holy
site
and
felt
the
presence
ofthe
divine
there.
You
witnessed
a
falling
red
star,
a
face
appearing
in
the
frost,
or
some
other
bizarre
happening.
You
are
certain
that
it
was
an
omen
of
some
sort.
You
escaped
certain
death
and
believe
it
was
the
intervention
ofa
god
that
saved
you.
You
witnessed
a
minor
miracle.
You
explored
an
empty
house
and
found
it
to
be
haunted.
You
were
briefly
possessed.
Roll
a
d6
to
determine
what
type
ofcreature
possessed
you:
1,
celestial;
2,
devil;
3,
demon;
4,
fey;
5,
elemental;
6,
undead.
You
saw
a
ghost.
You
saw
a
ghoul
feeding
on
a
corpse.
A
celestial
or
a
fiend
visited
you
in
your
dreams
to
give
a
warning
of
dangers
to
come.
You
briefly
visited
the
Feywild
or
the
Shadowfell.
You
saw
a
portal
that
you
believe
leads
to
another
plane
of
existence.
TRAGEDIES
d'lZ
1—2
1Yagedy
A
family
member
or
a
close
friend
died.
Roll
on
the
Cause
of
Death
supplemental
table
to
find
out
how.
A
friendship
ended
bitterly,
and
the
other
person
is
now
hostile
to
you.
The
cause
might
have
been
a
misunderstanding
or
something
you
or
the
former
friend
did.
You
lost
all
your
possessions
in
a
disaster,
and
you
had
to
rebuild
your
life.
You
were
imprisoned
for
a
crime
you
didn’t
com-
mit
and
spent
1d6
years
at
hard
labor,
in
jail,
or
shackled
to
an
oar
in
a
slave
galley.
War
ravaged
your
home
community,
reducing
ev-
erything
to
rubble
and
ruin.
in
the
aftermath,
you
either
helped
your
town
rebuild
or
moved
some-
where
else.
A
lover
disappeared
without
a
trace.
You
have
been
looking
for
that
person
ever
since.
d12
11
WAR
d12
2—3
Tragedy
A
terrible
blight
in
your
home
community
caused
crops
to
fail,
and
many
starved.
You
lost
a
sibling
or
some
other
family
member.
You
did
something
that
brought
terrible
shame
to
you
in
the
eyes
ofyour
family.
You
might
have
been
involved
in
a
scandal,
dabbled
in
dark
magic,
or
offended
someone
important.
The
attitude
ofyour
family
members
toward
you
becomes
indifferent
at
best,
though
they
might
eventually
forgive
you.
For
a
reason
you
were
never
told,
you
were
exiled
from
your
community.
You
then
either
wandered
in
the
wilderness
for
a
time
or
promptly
found
a
new
place
to
live.
A
romantic
relationship
ended.
Roll
3
d6.
An
odd
number
means
it
ended
with
bad
feelings,
while
an
even
number
means
it
ended
amicably.
A
current
or
prospective
romantic
partner
ofyours
died.
Roll
on
the
Cause
of
Death
supplemental
table
to
find
out
how.
lfthe
result
is
murder,
roll
a
d12.
On
a
1,
you
were
responsible,
whether
directly
orindirectly.
War
Outcome
You
were
knocked
out
and
left
for
dead.
You
woke
up
hours
later
with
no
recollection
ofthe
battle.
You
were
badly
injured
in
the
fight,
and
you
still
bear
the
awful
scars
ofthose
wounds.
You
ran
away
from
the
battle
to
save
your
life,
but
you
still
feel
shame
for
your
cowardice.
You
suffered
only
minor
injuries,
and
the
wounds
all
healed
without
leaving
scars.
i.
ll
5x5"?
iii?
'5
'
4.
'i!
1.3.
\i
ii“.
l~.'
i
‘
l‘Tl
(.1
is.“
.‘
d12
8—9
lO—l'l
12
War
Outcome
You
survived
the
battle,
but
you
suffer
from
terrible
nightmares
in
which
you
relive
the
experience.
You
escaped
the
battle
unscathed,
though
many
of
your
Friends
were
injured
or
lost.
You
acquitted
yourselfwell
in
battle
and
are
re—
membered
as
a
hero.
You
might
have
received
a
medal
for
your
bravery.
WEIRD
STUFF
d12
1
'IO
ll
What
Happened
You
were
turned
into
a
toad
and
remained
in
that
form
for
id4
weeks.
You
were
petrified
and
remained
a
stone
statue
for
a
time
until
someone
freed
you.
You
were
enslaved
by
a
hag,
a
satyr,
or
some
other
being
and
lived
in
that
creature’s
thrall
for
ld6
years.
A
dragon
held
you
as
a
prisoner
for
ld4
months
until
adventurers
killed
it.
You
were
taken
captive
by
a
race
ofevil
humanoids
such
as
drow,
kuo-toa,
or
quaggoths.
You
lived
as
a
slave
in
the
Underdark
until
you
escaped.
You
served
a
powerful
adventurer
as
a
hireling.
You
have
only
recently
left
that
service.
Use
the
supple-
mental
tables
and
work
with
your
DM
to
determine
the
basic
details
about
your
former
employer.
You
went
insane
for
id6
years
and
recently
re-
gained
your
sanity.
A
tic
or
some
other
bit
ofodd
behavior
might
linger.
A
lover
of
yours
was
secretly
a
silver
dragon.
You
were
captured
by
a
cult
and
nearly
sacrificed
on
an
altarto
the
foul
being
the
cultists
served.
You
escaped,
but
you
fear
they
will
find
you.
You
met
a
demigod,
an
archdevil,
an
archfey,
a
de-
mon
lord,
or
a
titan,
and
you
lived
to
tell
the
tale.
You
were
swallowed
by
a
giant
fish
and
spent
a
month
in
its
gullet
before
you
escaped.
A
powerful
being
granted
you
a
wish,
but
you
squandered
it
on
something
frivolous.
SUPPLEMENTAL
TABLES
The
supplemental
tables
below
give
you
a
way
to
ran-
domly
determine
characteristics
and
other
facts
about
individuals
who
are
part
of
your
character’s
life.
Use
these
tables
when
directed
to
do
so
by
another
table,
or
when
you
simply
want
to
come
up
with
a
piece
of
infor-
mation
quickly.
The
tables
are
in
alphabetical
order.
ALI
c.
N
M
E
N
T
3d6
Alignment
3
Chaotic
evil
(50%)
or
chaotic
neutral
(50%)
4—5
Lawful
evil
6—8
Neutral
evil
9—12
Neutral
(iils‘t
lJTlE
i-i
i
i
iii-Hi
\i'lL-LEt
r.'::i'='i'ir::‘:-;<.
3d6
13-15
16—17
18
Alignment
Neutral
good
Lawful
good
(50%)
or
lawful
neutral
(50%)
Chaotic
good
(50%)
or
chaotic
neutral
(50%)
CAUSE
OF
DEATH
d12
Cause
of
Death
1
Unknown
2
Murdered
3
Killed
in
battle
4
Accident
related
to
class
or
occupation
5
Accident
unrelated
to
class
or
occupation
6—7
Natural
causes,
such
as
disease
or
old
age
8
Apparent
suicide
9
Torn
apart
by
an
animal
or
a
natural
disaster
10
Consumed
by
a
monster
ll
Executed
for
a
crime
or
tortured
to
death
12
Bizarre
event,
such
as
being
hit
by
a
meteorite,
struck
down
by
an
angry
god,
or
killed
by
a
hatch-
ing
slaad
egg
CLASS
d100
Class
01—07
Barbarian
08—14
Bard
15—29
Cleric
30—36
Druid
37—52
Fighter
53—58
Monk
59—64
Paladin
65—70
Ranger
71—84
Rogue
85—89
Sorcerer
90—94
Warlock
95—00
Wizard
OCCUPATION
d100
Occupation
01—05
Academic
06—10
Adventurer
(roll
on
the
Class
table)
‘li
Aristocrat
12—26
Artisan
or
guild
member
27—31
Criminal
32—36
Entertainer
37—38
Exile,
hermit,
or
refugee
39—43
Explorer
or
wanderer
44—55
Farmer
or
herder
56—60
Hunter
or
trapper
61—75
Laborer
76—80
Merchant
81—35
Politician
or
bureaucrat
86—90
Priest
91—95
Sailor
96—00
Soldier
RACE
d100
Race
01—40
Human
41—50
Dwarf
51-—60
Elf
61—70
Halfling
71—75
Dragonborn
76—80
Gnome
31—35
Half-elf
86—90
Half~orc
9l—95
Tiefling
96—00
DM’s
choice
RELATIONSHIP
3d4
Attitude
3—4
Hostile
5-10
Friendly
11—12
Indifferent
STATUS
3d6
Status
3
Dead
(roll
on
the
Cause
of
Death
table)
4—5
Missing
or
unknown
6—
Alive,
but
doing
poorly
due
to
injury,
financial
trou-
ble,
or
relationship
difficulties
9—12
Alive
and
well
l3—l5
Alive
and
quite
successful
i6—l7
Alive
and
infamous
18
Alive
and
famous
RACIAL
FEATS
Leveling
up
in
a
class
is
the
main
way
a
character
evolves
during
a
campaign.
Some
DMs
also
allow
the
use
of
feats
to
customize
a
character.
Feats
are
an
op—
tional
rule
in
chapter
6,
“Customization
Options,”
of
the
Player’s
Handbook.
The
DM
decides
whether
they’re
used
and
may
also
decide
that
some
feats
are
available
in
a
campaign
and
others
aren’t.
This
section
introduces
a
collection
of
special
feats
that
allow
you
to
explore
your
character’s
race
fur-
ther.
These
feats
are
each
associated
with
a
race
from
the
Player’s
Handbook,
as
summarized
in
the
Racial
Feats
table.
A
racial
feat
represents
either
a
deepening
connection
to
your
race’s
culture
or
a
physical
trans-
formation
that
brings
you
closer
to
an
aspect
of
your
race’s
lineage.
The
cause
of
a
particular
transformation
is
up
to
you
and
your
DM.
A
transformational
feat
can
symbolize
a
latent
quality
that
has
emerged
as
you
age,
or
a
transfor-
mation
might
be
the
result
of
an
event
in
the
campaign,
such
as
exposure
to
powerful
magic
or
visiting
a
place
of
ancient
significance
to
your
race.
Transformations
are
a
fundamental
motif
of
fantasy
literature
and
folklore.
Fig—
uring
out
why
your
character
has
changed
can
be
a
rich
addition
to
your
campaign’s
story.
RACIAL
FEATS
WHAT’S
NEXT?
When
you’re
finished
using
these
tables,
you’ll
have
a
collection
of
facts
and
notes
that—at
a
minimum—encap-
sulate
what
your
character
has
been
doing
in
the
world
up
till
now.
Sometimes
that
might
be
all
the
information
you
want,
but
you
don’t
have
to
stop
there.
By
using
your
creativity
to
stitch
all
these
bits
together
into
a
continuous
narrative,
you
can
create
a
full-fledged
autobiography
for
your
character
in
as
little
as
a
few
sentences—an
excellent
example
of
how
the
whole
is
greater
than
the
sum
of
its
parts.
Did
you
get
a
couple
of
results
on
the
tables
that
don’t
outright
contradict
each
other
but
also
don’t
seem
to
fit
together
smoothly?
If
so,
now
is
your
chance
to
explain
what
happened
to
you.
For
instance,
let’s
say
you
were
born
in
a
castle,
but
your
childhood
home
was
in
the
wilderness.
It
could
be
that
your
parents
traveled
from
their
forest
home
to
seek
help
from
a
midwife
at
the
castle
when
your
mother
was
close
to
giving
birth.
Or
your
parents
might
have
been
members
of
the
castle’s
staff
before
you
were
born,
but
they
were
released
from
service
soon
after
you
came
into
the
world.
In
addition
to
deepening
your
own
roleplaying
experi-
ence,
your
character’s
history
presents
your
DM
with
op—
portunities
to
weave
those
elements
into
the
story
of
the
campaign.
Any
way
you
look
at
it,
adding
definition
to
your
character’s
pro—adventuring
life
is
time
well
spent.
Race
Feat
Dragonborn
Dragon
Fear
Dragonborn
Dragon
Hide
Dwarf
Dwarven
Fortitude
Dwarf
Squat
Nimbleness
Elf
Elven
Accuracy
Elf
(drow)
Drow
High
Magic
Elf
(high)
Fey
Teleportation
Elf
(wood)
Wood
ElfMagic
Gnome
Fade
Away
Gnome
Squat
Nimbleness
Half-elf
Elven
Accuracy
Half-elf
Prodigy
Half-arc
Orcish
Fury
Half-ore
Prodigy
Halfling
Bountiful
Luck
Halfling
Second
Chance
Halfling
Squat
Nimbleness
Human
’
Prodigy
Tiefling
Flames
of
Phlegethos
Tiefling
Infernal
Constitution
The
feats
are
presented
below
in
alphabetical
order.
BOUNTIFUL
LUCK
Prerequisite:
Halfling
Your
people
have
extraordinary
luck,
which
you
have
learned
to
mystically
lend
to
your
companions
when
you
see
them
falter.
You’re
not
sure
how
you
do
it;
you
just
wish
it,
and
it
happens.
Surely
a
sign
of
fortune’s
favor!
..
-_;—r;;:
.g.
--
When
an
ally
you
can
see
within
30
feet
of
you
rolls
a
1
on
the
d20
for
an
attack
roll,
an
ability
check,
or
a
sav—
ing
throw,
you
can
use
your
reaction
to
let
the
ally
reroll
the
die.
The
ally
must
use
the
new
roll.
When
you
use
this
ability,
you
can’t
use
your
Lucky
racial
trait
before
the
end
of
your
next
turn.
DRAGON
FEAR
Prerequisite:
Dragonborn
When
angered,
you
can
radiate
menace.
You
gain
the
following
benefits:
-
Increase
your
Strength,
Constitution,
or
Charisma
score
by
1,
to
a
maximum
of
20.
-
Instead
of
exhaling
destructive
energy,
you
can
ex—
pend
a
use
of
your
Breath
Weapon
trait
to
roar,
forcing
each
creature
of
your
choice
within
30
feet
of
you
to
make
a
Wisdom
saving
throw
(DC
8
+
your
proficiency
bonus
+
your
Charisma
modifier).
A
target
automati-
cally
succeeds
on
the
save
if
it
can’t
hear
or
see
you.
On
a
failed
save,
a
target
becomes
frightened
of
you
for
1
minute.
If
the
frightened
target
takes
any
dam-
age,
it
can
repeat
the
saving
throw,
ending
the
effect
on
itself
on
a
success.
DRAGON
HIDE
Prerequisite:
Dragonborn
You
manifest
scales
and
claws
reminiscent
of
your
dra-
conic
ancestors.
You
gain
the
following
benefits:
-
Increase
your
Strength,
Constitution,
or
Charisma
score
by
1,
to
a
maximum
of
20.
-
Your
scales
harden.
While
you
aren’t
wearing
armor,
you
can
calculate
your
AC
as
13
+
your
Dexterity
mod—
ifier.
You
can
use
a
shield
and
still
gain
this
benefit.
-
You
grow
retractable
claws
from
the
tips
of
your
fin—
gers.
Extending
or
retracting
the
claws
requires
no
action.
The
claws
are
natural
weapons,
which
you
can
use
to
make
unarmed
strikes.
Ifyou
hit
with
them,
you
deal
slashing
damage
equal
to
M4
+
your
Strength
modifier,
instead
of
the
normal
bludgeoning
damage
for
an
unarmed
strike.
DROW
HIGH
MAGIC
Prerequisite:
Eif
(drow)
You
learn
more
of
the
magic
typical
of
dark
elves.
You
learn
the
detect
magic
spell
and
can
cast
it
at
will,
with-
out
expending
a
spell
slot.
You
also
learn
levitate
and
dispei
magic,
each
of
which
you
can
cast
once
without
expending
a
spell
slot.
You
regain
the
ability
to
cast
those
two
spells
in
this
way
when
you
finish
a
long
rest.
Charisma
is
your
spellcasting
ability
for
all
three
spells.
DWARVEN
FORTITUDE
Prerequisite:
Dwa
rf
You
have
the
blood
of
dwarf
heroes
flowing
through
your
veins.
You
gain
the
following
benefits:
-
Increase
your
Constitution
score
by
l,
to
a
max—
imum
of
20.
-
Whenever
you
take
the
Dodge
action
in
combat,
you
can
spend
one
Hit
Die
to
heal
yourself.
Roll
the
die,
add
your
Constitution
modifier,
and
regain
a
number
of
hit
points
equal
to
the
total
(minimum
of
1).
ELVEN
ACCURACY
Prerequisite:
Elf
or
half-eff
The
accuracy
of
elves
is
legendary,
especially
that
of
elf
archers
and
spellcasters.
You
have
uncanny
aim
with
at-
tacks
that
rely
on
precision
rather
than
brute
force.
You
gain
the
following
benefits:
-
Increase
your
Dexterity,
Intelligence,
Wisdom,
or
Cha-
risma
score
by
1,
to
a
maximum
of
20.
.
Whenever
you
have
advantage
on
an
attack
roll
using
Dexterity,
Intelligence,
Wisdom,
or
Charisma,
you
can
reroll
one
of
the
dice
once.
FADE
AWAY
Prerequisite:
Gnome
Your
people
are
Clever,
with
a
knack
for
illusion
magic.
You
have
learned
a
magical
trick
for
fading
away
when
you
suffer
harm.
You
gain
the
following
benefits:
.
Increase
your
Dexterity
or
Intelligence
score
by
l,
to
a
maximum
of
20.
-
Immediately
after
you
take
damage,
you
can
use
a
reaction
to
magically
become
invisible
until
the
end
of
your
next
turn
or
until
you
attack,
deal
damage,
or
force
someone
to
make
a
saving
throw.
Once
you
use
this
ability,
you
can’t
do
so
again
until
you
finish
a
short
or
long
rest.
FEY
TELEPORTATION
Prerequisite:
Eiffliigh)
Your
study
of
high
elven
lore
has
unlocked
fey
power
that
few
other
elves
possess,
except
your
eladrin
cous-
ins.
Drawing
on
your
fey
ancestry,
you
can
momentarily
stride
through
the
F
eywild
to
shorten
your
path
from
one
place
to
another.
You
gain
the
following
benefits:
-
Increase
your
Intelligence
or
Charisma
score
by
1,
to
a
maximum
of
20.
-
You
learn
to
speak,
read,
and
write
Sylvan.
.
You
learn
the
misty
step
spell
and
can
cast
it
once
without
expending
a
spell
slot.
You
regain
the
abil—
ity
to
cast
it
in
this
way
when
you
finish
a
short
or
long
rest.
Intelligence
is
your
spellcasting
ability
for
this
spell.
FLAMES
or
PHLEGETHOS
Prerequisite:
Tiefling
You
learn
to
call
on
hellfire
to
serve
your
commands.
You
gain
the
following
benefits:
-
Increase
your
Intelligence
or
Charisma
score
by
1,
to
a
maximum
of
20.
-
When
you
roll
fire
damage
for
a
spell
you
cast,
you
can
reroll
any
roll
of
1
on
the
fire
damage
dice,
but
you
must
use
the
new
roll,
even
if
it
is
another
I-
-
Whenever
you
cast
a
spell
that
deals
fire
damage,
you
can
cause
flames
to
wreathe
you
until
the
end
of
your
w
next
turn.
The
flames
don’t
harm
you
or
your
posses—
sions,
and
they
shed
bright
light
out
to
30
feet
and
dim
light
for
an
additional
30
feet.
While
the
flames
are
present,
any
creature
within
5
feet
of
you
that
hits
you
with
a
melee
attack
takes
1d4
fire
damage.
INFERNAL
CONSTITUTION
Prerequisite:
fielding
Fiendish
blood
runs
strong
in
you,
unlocking
a
resild
ience
akin
to
that
possessed
by
some
fiends.
You
gain
the
following
benefits:
-
Increase
your
Constitution
score
by
l,
to
a
max-
imum
of
20.
-
You
have
resistance
to
cold
damage
and
poi-
son
damage.
-
You
have
advantage
on
saving
throws
against
be-
ing
poisoned.
ORCI
SH
F
U
RY
Prerequisite:
Half-ore
Your
inner
fury
burns
tirelessly.
You
gain
the
follow~
ing
benefits:
-
Increase
your
Strength
or
Constitution
score
by
l,
to
a
maximum
of
20.
.
When
you
hit
with
an
attack
using
a
simple
or
martial
weapon,
you
can
roll
one
of
the
weapon’s
damage
dice
an
additional
time
and
add
it
as
extra
damage
of
the
weapon’s
damage
type.
Once
you
use
this
ability,
you
can’t
use
it
again
until
you
finish
a
short
or
long
rest.
-
Immediately
after
you
use
your
Relentless
Endur—
ance
trait,
you
can
use
your
reaction
to
make
one
weapon
attack.
PRODIGY
Prerequisite:
Haifieiif
half-ore,
or
human
You
have
a
knack
for
learning
new
things.
You
gain
the
following
benefits:
-
You
gain
one
skill
proficiency
of
your
choice,
one
tool
proficiency
of
your
choice,
and
fluency
in
one
language
of
your
choice.
-
Choose
one
skill
in
which
you
have
proficiency.
You
gain
expertise
with
that
skill,
which
means
your
profi-
ciency
bonus
is
doubled
for
any
ability
check
you
make
with
it.
The
skill
you
choose
must
be
one
that
isn’t
already
benefiting
from
a
feature,
such
as
Expertise,
that
doubles
your
proficiency
bonus.
SECOND
CHANGE
Prerequisite:
Halfling
Fortune
favors
you
when
someone
tries
to
strike
you.
You
gain
the
following
benefits:
-
Increase
your
Dexterity,
Constitution,
or
Charisma
score
by
1,
to
a
maximum
of
20.
-
When
a
creature
you
can
see
hits
you
with
an
attack
roll,
you
can
use
your
reaction
to
force
that
creature
to
reroll.
Once
you
use
this
ability,
you
can’t
use
it
again
until
you
roll
initiative
at
the
start
of
combat
or
until
you
finish
a
short
or
long
rest.
SQUAT
NIMBLENESS
Prerequisite:
Dwarf
or
a
Small
race
You
are
uncommonly
nimble
for
your
race.
You
gain
the
following
benefits:
-
Increase
your
Strength
or
Dexterity
score
by
l,
to
a
maximum
of
20.
.
Increase
your
walking
speed
by
5
feet.
-
You
gain
proficiency
in
the
Acrobatics
or
Athletics
skill
(your
choice).
-
You
have
advantage
on
any
Strength
(Athletics)
or
Dexterity
(Acrobatics)
check
you
make
to
escape
from
being
grappled.
WOOD
ELF
MAGIC
Prerequisite:
E1f(wood)
You
learn
the
magic
of
the
primeval
woods,
which
are
revered
and
protected
by
your
people.
You
learn
one
druid
cantrip
of
your
choice.
You
also
learn
the
long
strider
and
pass
Without
trace
spells,
each
of
which
you
can
cast
once
without
expending
a
spell
slot.
You
regain
the
ability
to
cast
these
two
spells
in
this
way
when
you
finish
a
long
rest.
Wisdom
is
your
spellcasting
ability
for
all
three
spells.
_:.-—
I
.
F:
I
r,-
p-‘-"
.
.
fum’
..
5
THE
DUNGEON
MASTER,
YOU
OVERSEE
the
game
and
weave
together
the
story
ex-
perienced
by
your
players.
You’re
the
one
.
'
who
keeps
it
all
going,
and
this
chapter
is
for
you.
It
gives
you
new
rules
options,
as
'i
well
as
some
refined
tools
for
creating
and
running
adventures
and
campaigns.
It
is
a
supplement
to
the
tools
and
advice
offered
in
the
Dungeon
Master’s
Guide.
The
chapter
opens
with
optional
rules
meant
to
help
you
run
certain
parts
of
the
game
more
smoothly.
The
chapter
then
goes
into
greater
depth
on
several
topics—
.
encounter
building,
random
encounters,
traps,
magic
I}
items,
and
downtime—which
largely
relate
to
how
you
I
create
and
stage
your
adventures.
I
The
material
in
this
chapter
is
meant
to
make
your
l
life
easier.
Ignore
anything
you
find
here
that
doesn’t
I
help
you,
and
don’t
hesitate
to
customize
the
things
that
you
do
use.
The
game’s
rules
exist
to
serve
you
and
the
games
you
run.
As
always,
make
them
your
own.
i
SnuULLsNEOUsEErECTs
3
Most
effects
in
the
game
happen
in
succession,
follow-
'
ing
an
order
set
by
the
rules
or
the
DM.
In
rare
cases,
effects
can
happen
at
the
same
time,
especially
at
the
start
or
end
of
a
creature’s
turn.
If
two
or
more
things
happen
at
the
same
time
on
a
character
or
monster's
turn,
the
person
at
the
game
table—whether
player
or
l
DM—who
controls
that
creature
decides
the
order
in
which
those
things
happen.
For
example,
if
two
effects
occur
at
the
end
of
a
player
character’s
turn,
the
player
decides
which
of
the
two
effects
happens
first.
:
FALLLNG
Falling
from
a
great
height
is
a
significant
risk
for
ad—
venturers
and
their
foes.
The
rule
given
in
the
Player’s
Handbook
is
simple:
at
the
end
of
a
fall,
you
take
1d6
bludgeoning
damage
for
every
10
feet
you
fell,
to
a
maxi—
mum
of
20d6.
You
also
land
prone,
unless
you
somehow
avoid
taking
damage
from
the
fall.
Here
are
two
optional
rules
that
expand
on
that
simple
rule.
RATE
OF
FALLING
The
rule
for
falling
assumes
that
a
creature
immediately
drops
the
entire
distance
when
it
falls.
But
what
if
a
creature
is
at
a
high
altitude
when
it
falls,
perhaps
on
the
back
of
a
griffon
or
on
board
an
airship?
Realisti—
cally,
a
fall
from
such
a
height
can
take
more
than
a
few
seconds,
extending
past
the
end
of
the
turn
when
the
fall
occurred.
If
you’d
like
high-altitude
falls
to
be
properly
time—consuming,
use
the
following
optional
rule.
When
you
fall
from
a
great
height,
you
instantly
de-
scend
up
to
500
feet.
If
you’re
still
falling
on
your
next
CHéPTEM
_
DUNGEON
MASTER’S
TOOLS
turn,
you
descend
up
to
500
feet
at
the
end
of
that
turn.
This
process
continues
until
the
fall
ends,
either
be—
cause
you
hit
the
ground
or
the
fall
is
otherwise
halted.
FLYING
CREATURES
AND
FALLING
A
flying
creature
in
flight
falls
if
it
is
knocked
prone,
if
its
speed
is
reduced
to
0
feet,
or
if
it
otherwise
loses
the
ability
to
move,
unless
it
can
hover
or
it
is
being
held
aloft
by
magic,
such
as
the
fly
spell.
If
you’d
like
a
flying
creature
to
have
a
better
chance
of
surviving
a
fall
than
a
non-flying
creature
does,
use
this
rule:
subtract
the
creature’s
current
flying
speed
from
the
distance
it
fell
before
calculating
falling
damage.
This
rule
is
helpful
to
a
flier
that
is
knocked
prone
but
is
still
conscious
and
has
a
current
flying
speed
that
is
greater
than
0
feet.
The
rule
is
designed
to
simulate
the
creature
flapping
its
wings
furiously
or
taking
similar
measures
to
slow
the
velocity
of
its
fall.
If
you
use
the
rule
for
rate
of
falling
in
the
previous
section,
a
flying
creature
descends
500
feet
on
the
turn
when
it
falls,
just
as
other
creatures
do.
But
ifthat
crea—
ture
starts
any
of
its
later
turns
still
falling
and
is
prone,
it
can
halt
the
fall
on
its
turn
by
spending
half
its
flying
speed
to
counter
the
prone
condition
(as
if
it
were
stand-
ing
up
in
midair).
SLEEP
Just
as
in
the
real
world,
D&D
characters
spend
many
hours
sleeping,
most
often
as
part
of
a
long
rest.
Most
monsters
also
need
to
sleep.
While
a
creature
sleeps,
it
is
subjected
to
the
unconscious
condition.
Here
are
a
few
rules
that
expand
on
that
basic
fact.
WAKING
SOMEONE
A
creature
that
is
naturally
sleeping,
as
opposed
to
be—
ing
in
a
magically
or
chemically
induced
sleep,
wakes
up
if
it
takes
any
damage
or
if
someone
else
uses
an
ac-
tion
to
shake
or
slap
the
creature
awake.
A
sudden
loud
noise—such
as
yelling,
thunder,
or
a
ringing
bellaalso
awakens
someone
that
is
sleeping
naturally.
Whispers
don"t
disturb
sleep,
unless
a
sleeper’s
pas-
sive
Wisdom
(Perception)
score
is
20
or
higher
and
the
whispers
are
within
10
feet
of
the
sleeper.
Speech
at
a
normal
volume
awakens
a
sleeper
if
the
environment
is
otherwise
silent
(no
wind,
birdsong,
crickets,
street
sounds,
or
the
like)
and
the
sleeper
has
a
passive
Wis-
dom
(Perception)
score
of
15
or
higher.
SLEEPING
IN
ARMOR
Sleeping
in
light
armor
has
no
adverse
effect
on
the
wearer,
but
sleeping
in
medium
or
heavy
armor
makes
it
difficult
to
recover
fully
during
a
long
rest.
When
you
finish
a
long
rest
during
which
you
slept
in
medium
or
heavy
armor,
you
regain
only
one
quarter
of
your
spent
Hit
Dice
(minimum
of
one
die).
If
you
have
any
levels
of
exhaustion,
the
rest
doesn’t
reduce
your
exhaustion
level.
GOING
WITHOUT
A
LONG
REST
A
long
rest
is
never
mandatory,
but
going
without
sleep
does
have
its
consequences.
If
you
want
to
account
for
the
effects
of
sleep
deprivation
on
characters
and
crea-
tures,
use
these
rules.
Whenever
you
end
a
24-hour
period
without
finishing
a
long
rest,
you
must
succeed
on
a
DC
10
Constitution
saving
throw
or
suffer
one
level
of
exhaustion.
It
becomes
harder
to
fight
off
exhaustion
if
you
stay
awake
for
multiple
days.
After
the
first
24
hours,
the
DC
increases
by
5
for
each
consecutive
24-hour
period
without
a
long
rest.
The
DC
resets
to
10
when
you
finish
a
long
rest.
ADAMANTINE
WEAPONS
Adamantine
is
an
ultrahard
metal
found
in
meteorites
and
extraordinary
mineral
veins.
In
addition
to
being
used
to
craft
adamann'ne
armor,
the
metal
is
also
used
for
weapons.
Melee
weapons
and
ammunition
made
Of
or
coated
with
adamantine
are
unusually
effective
when
used
to
break
objects.
Whenever
an
adamantine
weapon
or
piece
of
ammunition
hits
an
object,
the
hit
is
a
critical
hit.
The
adamantine
version
of
a
melee
weapon
or
of
ten
pieces
of
ammunition
costs
500
gp
more
than
the
normal
version,
whether
the
weapon
or
ammunition
is
made
of
the
metal
or
coated
with
it.
TYING
KNOTS
The
rules
are
purposely
open-ended
concerning
mun-
dane
tasks
like
tying
knots,
but
sometimes
knowing
how
well
a
knot
was
fashioned
is
important
in
a
dra-
matic
scene
when
someone
is
trying
to
untie
a
knot
or
slip
out
of
one.
Here’s
an
optional
rule
for
determining
the
effectiveness
of
a
knot.
The
creature
who
ties
the
knot
makes
an
Intelligence
(Sleight
of
Hand)
check
when
doing
so.
The
total
of
the
check
becomes
the
DC
for
an
attempt
to
untie
the
knot
with
an
Intelligence
(Sleight
of
Hand)
check
or
to
slip
out
of
it
with
a
Dexterity
(Acrobatics)
check.
This
rule
intentionally
links
Sleight
of
Hand
with
Intelligence,
rather
than
Dexterity.
This
is
an
example
of
how
to
apply
the
rule
in
the
“Variant:
Skills
with
Different
Abilities"
section
in
chapter
7
of
the
Play;
er’s
Handbook.
TOOL
PROFICIENCIES
Tool
proficiencies
are
a
useful
way
to
highlight
a
charac—
ter’s
background
and
talents.
At
the
game
table,
though,
the
use
of
tools
sometimes
overlaps
with
the
use
of
skills,
and
it
can
be
unclear
how
to
use
them
together
in
certain
situations.
This
section
offers
various
ways
that
tools
can
be
used
in
the
game.
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5
TOOLS
AND
SKILLS
TOGETHER
Tools
have
more
specific
applications
than
skills.
The
History
skill
applies
to
any
event
in
the
past.
A
tool
such
as
a
forgery
kit
is
used
to
make
fake
objects
and
little
else.
Thus,
why
would
a
character
who
has
the
opportu-
nity
to
acquire
one
or
the
other
want
to
gain
a
tool
profi—
ciency
instead
of
proficiency
in
a
skill?
To
make
tool
proficiencies
more
attractive
choices
for
the
characters,
you
can
use
the
methods
outlined
below.
Advantage.
If
the
use
of
a
tool
and
the
use
of
a
skill
both
apply
to
a
check,
and
a
character
is
proficient
with
the
tool
and
the
skill,
consider
allowing
the
character
to
make
the
check
with
advantage.
This
simple
benefit
can
go
a
long
way
toward
encouraging
players
to
pick
up
tool
proficiencies.
In
the
tool
descriptions
that
follow,
this
benefit
is
often
expressed
as
additional
insight
(or
something
similar),
which
translates
into
an
increased
chance
that
the
check
will
be
a
success.
Added
Benefit.
In
addition,
consider
giving
characters
who
have
both
a
relevant
skill
and
a
relevant
tool
profi-
ciency
an
added
benefit
on
a
successful
check.
This
ben-
efit
might
be
in
the
form
of
more
detailed
information
or
could
simulate
the
effect
of
a
different
sort
of
successful
check.
For
example,
a
character
proficient
with
mason’s
tools
makes
a
successful
Wisdom
(Perception)
check
to
find
a
secret
door
in
a
stone
wall.
Not
only
does
the
char-
acter
notice
the
doors
presence,
but
you
decide
that
the
tool
proficiency
entitles
the
character
to
an
automatic
success
on
an
Intelligence
(Investigation)
check
to
deter-
mine
how
to
open
the
door.
TOOL
DESCRIPTIONS
The
following
sections
go
into
detail
about
the
tools
pre-
sented
in
the
Player’s
Handbook,
offering
advice
on
how
to
use
them
in
a
campaign.
Components.
The
first
paragraph
in
each
description
gives
details
on
what
a
set
of
supplies
or
tools
is
made
up
of.
A
character
who
is
proficient
with
a
tool
knows
how
to
use
all
of
its
component
parts.
Skills.
Every
tool
potentially
provides
advantage
on
a
check
when
used
in
conjunction
with
certain
skills,
pro—
vided
a
character
is
proficient
with
the
tool
and
the
skill.
As
DM,
you
can
allow
a
character
to
make
a
check
using
the
indicated
skill
with
advantage.
Paragraphs
that
be—
gin
with
skill
names
discuss
these
possibilities.
In
each
of
these
paragraphs,
the
benefits
apply
only
to
someone
who
has
proficiency
with
the
tool,
not
someone
who
sim—
ply
owns
it.
With
respect
to
skills,
the
system
is
mildly
abstract
in
terms
of
what
a
tool
proficiency
represents;
essentially,
it
assumes
that
a
character
who
has
proficiency
with
a
tool
also
has
learned
about
facets
of
the
trade
or
pro-
fession
that
are
not
necessarily
associated
with
the
use
of
the
tool.
In
addition,
you
can
consider
giving
a
character
extra
information
or
an
added
benefit
on
a
skill
check.
The
text
provides
some
examples
and
ideas
when
this
oppor-
tunity
is
relevant.
Special
Use.
Proficiency
with
a
tool
usually
brings
with
it
a
particular
benefit
in
the
form
of
a
special
use,
as
described
in
this
paragraph.
Sample
DCs.
A
table
at
the
end
of
each
section
lists
activities
that
a
tool
can
be
used
to
perform,
and
sug-
gested
DCs
for
the
necessary
ability
checks.
ALCHEMIST’S
SUPPLIES
Alchemist’s
supplies
enable
a
character
to
produce
use-
ful
concoctions,
such
as
acid
or
alchemist’s
fire.
Components.
Alchemist‘s
supplies
include
two
glass
beakers,
a
metal
frame
to
hold
a
beaker
in
place
over
an
open
flame,
a
glass
stirring
rod,
a
small
mortar
and
pestle,
and
a
pouch
of
common
alchemical
ingredients,
including
salt,
powdered
iron,
and
purified
water.
Arcana.
Proficiency
with
alchemist’s
supplies
allows
you
to
unlock
more
information
on
Arcana
checks
in—
volving
potions
and
similar
materials.
Investigation.
When
you
inspect
an
area
for
clues,
proficiency
with
alchemist’s
supplies
grants
additional
insight
into
any
chemicals or
other
substances
that
might
have
been
used
in
the
area.
Aichemicai
Crafting.
You
can
use
this
tool
proficiency
to
create
alchemical
items.
A
character
can
spend
money
to
collect
raw
materials,
which
weigh
1
pound
for
every
50
gp
spent.
The
DM
can
allow
a
character
to
make
a
check
using
the
indicated
skill
with
advantage.
As
part
of
a
long
rest,
you
can
use
alchemist’s
supplies
to
make
one
dose
of
acid,
alchemist’s
fire,
antitoxin,
oil,
perfume,
or
soap.
Subtract
half
the
value
of
the
cre—
ated
item
from
the
total
gp
worth
of
raw
materials
you
are
carrying.
ALCHEMIST’S
SUPPLIES
Activity
DC
Create
a
puffofthick
smoke
10
Identify
a
poison
1O
Identify
a
substance
15
Start
a
fire
15
Neutralize
acid
20
BREWER’S
SUPPLIES
Brewing
is
the
art
of
producing
beer.
Not
only
does
beer
serve
as
an
alcoholic
beverage,
but
the
process
of
brew—
ing
purifies
water.
Crafting
beer
takes
weeks
of
fermen—
tation,
but
only
a
few
hours
of
work.
Components.
Brewer's
supplies
include
a
large
glass
jug,
a
quantity
of
hops,
a
siphon,
and
several
feet
of
tubing.
History.
Proficiency
with
brewer’s
supplies
gives
you
additional
insight
on
Intelligence
(History)
checks
concerning
events
that
involve
alcohol
as
a
signifi-
cant
element.
Medicine.
This
tool
proficiency
grants
additional
insight
when
you
treat
anyone
suffering
from
alcohol
poisoning
or
when
you
can use
alcohol
to
dull
pain.
Persuasion.
A
stiff
drink
can
help
soften
the
hardest
heart.
Your
proficiency
with
brewer’s
supplies
can
help
you
ply
someone
with
drink,
giving
them
just
enough
alcohol
to
mellow
their
mood.
Potable
Water.
Your
knowledge
of
brewing
enables
you
to
purify
water
that
would
otherwise
be
undrink—
able.
As
part
of
a
long
rest,
you
can
purify
up
to
6
gal-
lons
of
water,
or
1
gallon
as
part
of
a
short
rest.
BREWER’S
SUPPLIES
Activity
DC
Detect
poison
or
impurities
in
a
drink
10
Identify
alcohol
15
Ignore
effects
ofalcohol
20
CALLIGRAPHER’S
SUPPLIES
Calligraphy
treats
writing
as
a
delicate,
beautiful
art.
Calligraphers
produce
text
that
is
pleasing
to
the
eye,
using
a
style
that
is
difficult
to
forge.
Their
supplies
also
give
them
some
ability
to
examine
scripts
and
determine
if
they
are
legitimate,
since
a
calligrapher’s
training
in-
volves
long
hours
of
studying
writing
and
attempting
to
replicate
its
style
and
design.
Components.
Calligrapher’s
supplies
include
ink,
a
dozen
sheets
of
parchment,
and
three
quills.
Arcana.
Although
calligraphy
is
of
little
help
in
deci—
phering
the
content
of
magical
writings,
proficiency
with
these
supplies
can
aid
in
identifying
who
wrote
a
script
of
a
magical
nature.
History.
This
tool
proficiency
can
augment
the
benefit
of
successful
checks
made
to
analyze
or
inves—
tigate
ancient
writings,
scrolls,
or
other
texts,
includ-
ing
runes
etched
in
stone
or
messages
in
frescoes
or
other
displays.
Decipher
Treasure
Map.
This
tool
proficiency
grants
you
expertise
in
examining
maps.
You
can
make
an
Intelligence
check
to
determine
a
map’s
age,
whether
a
map
includes
any
hidden
messages,
or
similar
facts.
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CALLIORAPHER’S
SUPPLIES
Activityr
DC
Identify
writer
of
nonmagical
script
10
Determine
writer's
state
of
mind
15
Spot
forged
text
15
Forge
a
signature
20
CARPENTER’S
TOOLs
Skill
at
carpentry
enables
a
character
to
construct
wooden
structures.
A
carpenter
can
build
a
house,
a
shack,
a
wooden
cabinet,
or
similar
items.
Components.
Carpenter’s
tools
include
a
saw,
a
ham-
mer,
nails,
a
hatchet,
a
square,
a
ruler,
an
adze,
a
plane,
and
a
chisel.
History.
This
tool
proficiency
aids
you
in
identifying
the
use
and
the
origin
of
wooden
buildings
and
other
large
wooden
objects.
Investigation.
You
gain
additional
insight
when
in-
specting
areas
within
wooden
structures,
because
you
know
tricks
of
construction
that
can
conceal
areas
from
discovery.
Perception.
You
can
spot
irregularities
in
wooden
walls
or
floors,
making
it
easier
to
find
trap
doors
and
secret
passages.
Stealth.
You
can
quickly
assess
the
weak
spots
in
a
wooden
floor,
making
it
easier
to
avoid
the
places
that
creek
and
groan
when
they’re
stepped
on.
Fortifv.
With
1
minute
of
work
and
raw
materials,
you
can
make
a
door
or
window
harder
to
force
open.
Increase
the
DC
needed
to
open
it
by
5.
Temporary
Shelter.
As
part
of
a
long
rest,
you
can
construct
a
lean-to
or
a
similar
shelter
to
keep
your
group
dry
and
in
the
shade
for
the
duration
of
the
rest.
Because
it
was
fashioned
quickly
from
whatever
wood
was
available,
the
shelter
collapses
1d3
days
after
being
assembled.
CARPENTER’S
TOOLS
Activity
DC
Build
a
simple
wooden
structure
10
Design
a
complex
wooden
structure
15
Find
a
weak
point
in
a
wooden
wall
15
Pry
apart
a
door
20
CARTOGRAPHER’S
TOOLS
Using
cartographer’s
tools,
you
can
create
accurate
maps
to
make
travel
easier
for
yourself
and
those
who
come
after
you.
These
maps
can
range
from
large-scale
depictions
of
mountain
ranges
to
diagrams
that
show
the
layout
of
a
dungeon
level.
Components.
Cartographer’s
tools
consist
of
a
quill,
ink,
parchment,
a
pair
of
compasses,
calipers,
and
a
ruler.
Arcana,
History,
Religion.
You
can
use
your
knowl—
edge
of
maps
and
locations
to
unearth
more
detailed
information
when
you
use
these
skills.
For
instance,
you
might
spot
hidden
messages
in
a
map,
identify
when
the
map
was
made
to
determine
if
geographical
features
have
changed
since
then,
and
so
forth.
Nature.
Your
familiarity
with
physical
geography
makes
it
easier
for
you
to
answer
questions
or
solve
is-
sues
relating
to
the
terrain
around
you.
Survival.
Your
understanding
of
geography
makes
it
easier
to
find
paths
to
civilization,
to
predict
areas
where
villages
or
towns
might
be
found,
and
to
avoid
becom-
ing
lost.
You
have
studied
so
many
maps
that
common
patterns,
such
as
how
trade
routes
evolve
and
where
settlements
arise
in
relation
to
geographic
locations,
are
familiar
to
you.
Crafta
Map.
While
traveling,
you
can
draw
a
map
as
you
go
in
addition
to
engaging
in
other
activity.
CARTOGRAPH
ER’S
TOOLS
Activity
DC
Determine
a
map’s
age
and
origin
10
Estimate
direction
and
distance
to
a
landmark
15
Discern
that
a
map
is
fake
15
Fill
in
a
missing
part
ofa
map
20
COBBLER’S
TOOLS
Although
the
cobbler’s
trade
might
seem
too
humble
for
an
adventurer,
a
good
pair
of
boots
will
see
a
character
across
rugged
wilderness
and
through
deadly
dungeons.
Components.
Cobbler’s
tools
consist
of
a
hammer,
an
awl,
a
knife,
a
shoe
stand,
a
cutter,
spare
leather,
and
thread.
Arcana,
History.
Your
knowledge
of
shoes
aids
you
in
identifying
the
magical
properties
of
enchanted
boots
or
the
history
Of
such
items.
Investigation.
Footwear
holds
a
surprising
number
of
secrets.
You
can
learn
where
someone
has
recently
visited
by
examining
the
wear
and
the
dirt
that
has
ac-
cumulated
on
their
shoes.
Your
experience
in
repairing
shoes
makes
it
easier
for
you
to
identify
where
damage
might
come
from.
Maintain
Shoes.
As
part
of
a
long
rest,
you
can
repair
your
companions’
shoes.
For
the
next
24
hours,
up
to
six
creatures
of
your
choice
who
wear
shoes
you
worked
on
can
travel
up
to
10
hours
a
day
without
making
saving
throws
to
avoid
exhaustion.
Craft
Hidden
Compartment.
With
8
hours
of
work,
you
can
add
a
hidden
compartment
to
a
pair
of
shoes.
The
compartment
can
hold
an
object
up
to
3
inches
long
and
1
inch
wide
and
deep.
You
make
an
Intelligence
check
using
your
tool
proficiency
to
determine
the
ln-
telligence
(Investigation)
check
DC
needed
to
find
the
compartment.
COBBLER’s
TOOLs
Activity
DC
Determine
a
shoe’s
age
and
origin
10
Find
a
hidden
compartment
in
a
boot
heel
15
COOK’S
UTENSILS
Adventuring
is
a
hard
life.
With
a
cook
along
on
the
jour-
ney,
your
meals
will
be
much
better
than
the
typical
mix
of
hardtack
and
dried
fruit.
Components.
Cook’s
utensils
include
a
metal
pot,
knives,
forks,
a
stirring
spoon,
and
a
ladle.
History.
Your
knowledge
of
cooking
techniques
al—
lows
you
to
assess
the
social
patterns
involved
in
a
cul-
tures
eating
habits.
Medicine.
When
administering
treatment,
you
can
transform
medicine
that
is
bitter
or
sour
into
a
pleasing
concoction.
Survival.
When
foraging
for
food,
you
can
make
do
with
ingredients
you
scavenge
that
others
would
be
un-
able
to
transform
into
nourishing
meals.
Prepare
Meals.
As
part
of
a
short
rest,
you
can
pre—
pare
a
tasty
meal
that
helps
your
companions
regain
their
strength.
You
and
up
to
five
creatures
of
your
choice
regain
1
extra
hit
point
per
Hit
Die
spent
during
a
short
rest,
provided
you
have
access
to
your
cook’s
utensils
and
sufficient
food.
Coox’s
UTENSILS
Activity
DC
Create
atypical
meal
10
Duplicate
a
meal
10
Spot
poison
or
impurities
in
food
15
Create
a
gourmet
meal
15
DISGUISE
KIT
The
perfect
tool
for
anyone
who
wants
to
engage
in
trickery,
a
disguise
kit
enables
its
owner
to
adopt
a
false
identity.
Components.
A
disguise
kit
includes
cosmetics,
hair
dye,
small
props,
and
a
few
pieces
of
clothing.
Deception.
In
certain
cases,
a
disguise
can
improve
your
ability
to
weave
convincing
lies.
Intimidation.
The
right
disguise
can
make
you
look
more
fearsome,
whether
you
want
to
scare
someone
away
by
posing
as
a
plague
victim
or
intimidate
a
gang
of
thugs
by
taking
the
appearance
of
a
bully.
Performance.
A
cunning
disguise
can
enhance
an
au-
dience’s
enjoyment
of
a
performance,
provided
the
dis—
guise
is
properly
designed
to
evoke
the
desired
reaction.
Persuasion.
Folk
tend
to
trust
a
person
in
uniform.
If
you
disguise
yourself
as
an
authority
figure,
your
efforts
to
persuade
others
are
often
more
effective.
Create
Disguise.
As
part
of
a
long
rest,
you
can
create
a
disguise.
It
takes
you
1
minute
to
don
such
a
disguise
once
you
have
created
it.
You
can
carry
only
one
such
disguise
on
you
at
a
time
without
drawing
undue
attention,
unless
you
have
a
bag
of
holding
or
a
similar
method
to
keep
them
hidden.
Each
disguise
weighs
1
pound.
At
other
times,
it
takes
10
minutes
to
craft
a
disguise
that
involves
moderate
changes
to
your
appearance,
and
30
minutes
for
one
that
requires
more
exten-
sive
changes.
Dnscurse
KIT
Activity
DC
Cover
injuries
or
distinguishing
marks
10
Spot
a
disguise
being
used
by
someone
else
15
Copy
a
humanoid’s
appearance
20
FORGERY
KIT
A
forgery
kit
is
designed
to
duplicate
documents
and
to
make
it
easier
to
copy
a
person’s
seal
or
signature.
Components.
A
forgery
kit
includes
several
different
types
of
ink,
a
variety
of
parchments
and
papers,
several
quills,
seals
and
sealing
wax,
gold
and
silver
leaf,
and
small
tools
to
sculpt
melted
wax
to
mimic
a
seal.
Arcana.
A
forgery
kit
can
be
used
in
conjunction
with
the
Arcana
skill
to
determine
if
a
magic
item
is
real
or
fake.
Deception.
A
wellwcrafted
forgery,
such
as
papers
pro-
claiming
you
to
be
a
noble
or
a
writ
that
grants
you
safe
passage,
can
lend
credence
to
a
lie.
History.
A
forgery
kit
combined
with
your
knowledge
of
history
improves
your
ability
to
create
fake
historical
documents
or
to
tell
if
an
old
document
is
authentic.
Investigation.
When
you
examine
objects,
proficiency
with
a
forgery
kit
is
useful
for
determining
how
an
ob—
ject
was
made
and
whether
it
is
genuine.
Other
Tools.
Knowledge
of
other
tools
makes
your
forgeries
that
much
more
believable.
For
example,
you
could
combine
proficiency
with
a
forgery
kit
and
profi-
ciency
with
cartographer’s
tools
to
make
a
fake
map.
Quick
Fake.
As
part
of
a
short
rest,
you
can
produce
a
forged
document
no
more
than
one
page
in
length.
As
part
of
a
long
rest,
you
can
produce
a
document
that
is
up
to
four
pages
long.
Your
Intelligence
check
using
a
forgery
kit
determines
the
DC
for
someone
else’s
Intelli-
gence
(Investigation)
check
to
spot
the
fake.
FORGERY
KIT
Activity
DC
Mimic
handwriting
15
Duplicate
a
wax
seal
20
GAMING
SET
Proficiency
with
a
gaming
set
applies
to
one
type
of
game,
such
as
Three-Dragon
Ante
or
games
of
chance
that
use
dice.
Components.
A
gaming
set
has
all
the
pieces
needed
to
play
a
specific
game
or
type
of
game,
such
as
a
com-
plete
deck
of
cards
or
a
board
and
tokens.
History.
Your
mastery
of
a
game
includes
knowledge
of
its
history,
as
well
as
of
important
events
it
was
con—
nected
to
or
prominent
historical
figures
involved
with
it.
Insight.
Playing
games
with
someone
is
a
good
way
to
gain
understanding
of
their
personality,
granting
you
a
better
ability
to
discern
their
lies
from
their
truths
and
read
their
mood.
Sleight‘of
Hand.
Sleight
of
Hand
is
a
useful
skill
for
cheating
at
a
game,
as
it
allows
you
to
swap
pieces,
palm
cards,
or
alter
a
die
roll.
Alternatively,
engrossing
a
target
in
a
game
by
manipulating
the
components
with
dexterous
movements
is
a
great
distraction
for
a
pick-
pocketing
attempt.
GAMING
SET
Activity
DC
Catch
a
player
cheating
15
Gain
insight
into
an
Opponent’s
personality
15
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GLASSBLOWER’S
TOOLS
Someone
who
is
proficient
with
glassblower’s
tools
has
not
only
the
ability
to
shape
glass,
but
also
spe-
cialized
knowledge
of
the
methods
used
to
produce
glass
objects.
Components.
The
tools
include
a
blowpipe,
a
small
marver,
blocks,
and
tweezers.
You
need
a
source
of
heat
to
work
glass.
Arcana,
History.
Your
knowledge
of
glassmaking
techniques
aids
you
when
you
examine
glass
objects,
such
as
potion
bottles
or
glass
items
found
in
a
treasure
hoard.
For
instance,
you
can
study
how
a
glass
potion
bottle
has
been
changed
by
its
contents
to
help
deter—
mine
a
potion’s
effects.
(A
potion
might
leave
behind
a
residue,
deform
the
glass,
or
stain
it.)
Investigation.
When
you
study
an
area,
your
knowL
edge
can
aid
you
if
the
clues
include
broken
glass
or
glass
objects.
Identify
Weakness.
With
1
minute
of
study,
you
can
identify
the
weak
points
in
a
glass
object.
Any
damage
dealt
to
the
Object
by
striking
a
weak
spot
is
doubled.
GLASSBLOWER’S
TOOLS
Activity
DC
identify
source
of
glass
10
Determine
what
a
glass
object
once
held
20
HERBALISM
KIT
Proficiency
with
an
herbalism
kit
allows
you
to
identify
plants
and
safely
collect
their
useful
elements.
Components.
An
herbalism
kit
includes
pouches
to
store
herbs,
clippers
and
leather
gloves
for
collecting
plants,
a
mortar
and
pestle,
and
several
glass
jars.
Arcana.
Your
knowledge
of
the
nature
and
uses
of
herbs
can
add
insight
to
your
magical
studies
that
deal
with
plants
and
your
attempts
to
identify
potions.
Investigation.
When
you
inspect
an
area
overgrown
with
plants,
your
proficiency
can
help
you
pick
out
de—
tails
and
clues
that
others
might
miss.
Medicine.
Your
mastery
of
herbalism
improves
your
ability
to
treat
illnesses
and
wounds
by
augmenting
your
methods
of
care
with
medicinal
plants.
Nature
and
Survival.
When
you
travel
in
the
wild,
your
skill
in
herbalism
makes
it
easier
to
identify
plants
and
spot
sources
of
food
that
others
might
overlook.
Identify
Plants.
You
can
identify
most
plants
with
a
quick
inspection
of
their
appearance
and
smell.
HERBALISM
KIT
Activity
DC
Find
plants
15
Identify
poison
20
jEWELER‘S
TOOLS
Training
with
jeweler’s
tools
includes
the
basic
tech-
niques
needed
to
beautify
gems.
it
also
gives
you
exper—
tise
in
identifying
precious
stones.
Components.
Jeweler’s
tools
consist
Of
a
small
saw
and
hammer,
files,
pliers,
and
tweezers.
Arcana.
Proficiency
with
jeweler’s
tools
grants
you
knowledge
about
the
reputed
mystical
uses
of
gems.
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r'i"ii_",a1::;
This
insight
proves
handy
when
you
make
Arcana
checks
related
to
gems
or
gem—encrusted
items.
Investigation.
When
you
inspect
jeweled
objects.
your
proficiency
with
jeweler’s
tools
aids
you
in
picking
out
clues
they
might
hold.
Identify
Gems.
You
can
identify
gems
and
determine
their
value
at
a
glance.
JEWELER’S
TOOLS
Activity
DC
Modify
a
gem's
appearance
15
Determine
a
gem's
history
20
LAND
AND
WATER
VEHICLES
Proficiency
with
land
vehicles
covers
a
wide
range
of
op-
tions,
from
chariots
and
howdahs
to
wagons
and
carts.
Proficiency
with
water
vehicles
covers
anything
that
nav-
igates
waterways.
Proficiency
with
vehicles
grants
the
knowledge
needed
to
handle
vehicles
of
that
type,
along
with
knowledge
of
how
to
repair
and
maintain
them.
In
addition,
a
character
proficient
with
water
vehicles
is
knowledgeable
about
anything
a
professional
sailor
would
be
familiar
with,
such
as
information
about
the
sea
and
islands,
tying
knots,
and
assessing
weather
and
sea
conditions.
Arcana.
When
you
study
a
magic
vehicle,
this
tool
pro-
ficiency
aids
you
in
uncovering
lore
or
determining
how
the
vehicle
operates.
Investigation,
Perception.
When
you
inspect
a
vehi—
cle
for
clues
or
hidden
inform
ation,
your
proficiency
aids
you
in
noticing
things
that
others
might
miss.
Vehicle
Handling.
When
piloting
a
vehicle,
you
can
apply
your
proficiency
bonus
to
the
vehicle's
AC
and
sav-
ing
throws.
VEHICLES
Activity
DC
Navigate
rough
terrain
or
waters
10
Assess
a
vehicle's
condition
15
Take
a
tight
corner
at
high
speed
20
LEATHERWORKER’S
TOOLS
Knowledge
of
leatherworking
extends
to
lore
concern—
ing
animal
hides
and
their
properties.
It
also
confers
knowledge
of
leather
armor
and
similar
goods.
Components.
Leatherworker’s
tools
include
a
knife,
a
small
mallet,
an
edger,
a
hole
punch,
thread,
and
leather
scraps.
Arcana.
Your
expertise
in
working
with
leather
grants
you
added
insight
when
you
inspect
magic
items
crafted
from
leather,
such
as
boots
and
some
cloaks.
Investigation.
You
gain
added
insight
when
studying
leather
items
or
clues
related
to
them,
as
you
draw
on
your
knowledge
of
leather
to
pick
out
details
that
others
would
overlook.
Identify
Hides.
When
looking
at
a
hide
or
a
leather
item,
you
can
determine
the
source
of
the
leather
and
any
special
techniques
used
to
treat
it.
For
example,
you
can
spot
the
difference
between
leather
crafted
using
dwarven
methods
and
leather
crafted
using
half-
ling
methods.
LEATHERwoRKER’s
TOOLS
Activity
DC
Modify
a
leather
item’s
appearance
10
Determine
a
leather
item’s
history
20
MASON’S
TOOLS
Mason’s
tools
allow
you
to
craft
stone
structures,
includ-
ing
walls
and
buildings
crafted
from
brick.
Components.
Mason’s
tools
consist
of
a
trowel,
a
hammer,
a
chisel,
brushes,
and
a
square.
History.
Your
expertise
aids
you
in
identifying
a
stone
building’s
date
of
construction
and
purpose,
along
with
insight
into
who
might
have
built
it.
Investigation.
You
gain
additional
insight
when
in—
specting
areas
within
stone
structures.
Perception.
You
can
spot
irregularities
in
stone
walls
or
floors,
making
it
easier
to
find
trap
doors
and
se-
cret
passages.
Demolition.
Your
knowledge.
of
masonry
allows
you
to
spot
weak
points
in
brick
walls.
You
deal
double
dam-
age
to
such
structures
with
your
weapon
attacks.
MASON’S
TOOLS
Activity
DC
Chisel
a
small
hole
in
a
stone
wall
10
Findaweak
pointinastonewall
15
MUSICAL
INSTRUMENTS
Proficiency
with
a
musical
instrument
indicates
you
are
familiar
with
the
techniques
used
to
play
it.
You
also
have
knowledge
of
some
songs
commonly
performed
with
that
instrument.
History.
Your
expertise
aids
you
in
recalling
lore
re-
lated
to
your
instrument.
Performance.
Your
ability
to
put
on
a
good
show
is
improved
when
you
incorporate
an
instrument
into
your
act.
Compose
3
Tune.
As
part
of
a
long
rest,
you
can
compose
a
new
tune
and
lyrics
for
your
instrument.
You
might
use
this
ability
to
impress
a
noble
or
spread
scan-
dalous
rumors
with
a
catchy
tune.
MUSICAL
INSTRUMENT
Activity
DC
Identify
a
tune
10
Improvise
a
tune
20
NAVIGATOR’S
TOOLS
Proficiency
with
navigator's
tools
helps
you
determine
a
true
course
based
on
observing
the
stars.
It
also
grants
you
insight
into
charts
and
maps
while
developing
your
sense
of
direction.
Components.
Navigator’s
tools
include
a
sextant,
a
compass,
calipers,
a
ruler,
parchment,
ink,
and
a
quill.
Survival.
Knowledge
of
navigator’s
tools
helps
you
avoid
becoming
lost
and
also
grants
you
insight
into
the
most
likely
location
for
roads
and
settlements.
Sighting.
By
taking
careful
measurements,
you
can
determine
your
position
on
a
nautical
chart
and
the
time
of
day.
NAVIGATOR’S
TOOLS
Activity
DC
Plot
a
course
10
Discover
your
position
on
a
nautical
chart
15
PAINTER’S
SUPPLIES
Proficiency
with
painter’s
supplies
represents
your
ability
to
paint
and
draw.
You
also
acquire
an
under-
standing
of
art
history,
which
can
aid
you
in
examining
works
of
art.
Components.
Painter’s
supplies
include
an
easel,
can-
vas,
paints,
brushes,
charcoal
sticks.
and
a
palette.
Arcana,
History,
Religion.
Your
expertise
aids
you
in
uncovering
lore
of
any
sort
that
is
attached
to
a
work
of
art,
such
as
the
magical
properties
of
a
painting
or
the
origins
of
a
strange
mural
found
in
a
dungeon.
Investigation,
Perception.
When
you
inspect
a
painting
or
a
similar
work
of
visual
art,
your
knowledge
of
the
practices
behind
creating
it
can
grant
you
addi-
tional
insight.
Painting
and
Drawing.
As
part
of
a
short
or
long
rest,
you
can
produce
a
simple
work
of
art.
Although
your
work
might
lack
precision,
you
can
capture
an
image
or
a
scene,
or
make.
a
quick
copy
of
a
piece
of
art
you
saw.
PAINTER’S
SUPPLIES
Activity
DC
Paint
an
accurate
portrait
10
Create
a
painting
with
a
hidden
message
20
POISONER’S
KIT
A
poisoner’s
kit
is
a
favored
resource
for
thieves,
assas-
sins,
and
others
who
engage
in
skulduggery.
It
allows
you
to
apply
poisons
and
create
them
from
various
materials.
Your
knowledge
of
poisons
also
helps
you
treat
them.
Components.
A
poisoner’s
kit
includes
glass
vials,
a
mortar
and
pestle,
chemicals,
and
a
glass
stirring
rod.
History.
Your
training
with
poisons
can
help
you
when
you
try
to
recall
facts
about
infamous
poisonings.
Investigation,
Perception.
Your
knowledge
of
poisons
has
taught
you
to
handle
those
substances
carefully,
giving
you
an
edge
when
you
inspect
poisoned
objects
or
try
to
extract
clues
from
events
that
involve
poison.
Medicine.
When
you
treat
the
victim
of
a
poison,
your
knowledge
grants
you
added
insight
into
how
to
provide
the
best
care
to
your
patient.
Nature,
Survival.
Working
with
poisons
enables
you
to
acquire
lore
about
which
plants
and
animals
are
poisonous.
Handle
Poison.
Your
proficiency
allows
you
to
handle
and
apply
a
poison
without
risk
of
exposing
yourself
to
its
effects.
POISONER’S
TOOLS
Activity
DC
Spot
a
poisoned
object
10
Determine
the
effects
ofa
poison
20
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i i
i"?
if
15!
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ii
i i
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l
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Arcana
and
History.
Your
expertise
lends
you
ad
ditional
insight
when
examining
metal
objects,
such
as
weapons.
Investigation.
You
can
spot
clues
and
make
deduc—
tions
that
others
might
overlook
when
an
investigation
involves
armor,
weapons,
or
other
metalwork.
Repair.
With
access
to
your
tools
and
an
open
flame
hot
enough
to
make
metal
pliable,
you
can
restore
10
hit
points
to
a
damaged
metal
object
for
each
hour
of
work.
SMITH’s
TOOLS
POTTER’S
TOOLS
Potter’s
tools
are
used
to
create
a
variety
of
ceramic
Ob-
jects,
most
typically
pots
and
similar
vessels.
Components.
Potter’s
tools
include
potter’s
needles,
ribs,
scrapers,
a
knife,
and
calipers.
History.
Your
expertise
aids
you
in
identifying
ce'
ramic
objects,
including
when
they
were
created
and
their
likely
place
or
culture
of
origin.
Investigation,
Perception.
You
gain
additional
insight
when
inspecting
ceramics,
uncovering
clues
others
would
overlook
by
spotting
minor
irregularities.
Reconstruction.
By
examining
pottery
shards,
you
can
determine
an
object’s
original,
intact
form
and
its
likely
purpose.
POTTER’S
TOOLS
Activity
DC
Determine
what
a
vessel
once
held
10
Create
a
serviceable
pot
15
Find
a
weak
point
in
a
ceramic
Object
20
SMITH’S
TOOLS
Smith’s
tools
allow
you
to
work
metal,
heating
it
to
alter
its
shape,
repair
damage,
or
work
raw
ingots
into
useful
items.
Components.
Smith’s
tools
include
hammers,
tongs,
charcoal,
rags,
and
a
Whetstone.
Activity
DC
Sharpen
a
dull
blade
10
Repaira
suit
oiarmor
lS
Sunder
a
nonmagical
metal
object
15
THIEVES’
TOOLS
Perhaps
the
most
common
tools
used
by
adventurers,
thieves’
tools
are
designed
for
picking
locks
and
foiling
traps.
Proficiency
with
the
tools
also
grants
you
a
gen-
eral
knowledge
of
traps
and
locks.
Components.
Thieves’
tools
include
a
small
file,
a
set
Of
lock
picks,
a
small
mirror
mounted
on
a
metal
handle,
a
set
of
narrow—bladed
scissors,
and
a
pair
of
pliers.
History.
Your
knowledge
of
traps
grants
you
insight
when
answering
questions
about
locations
that
are
re-
nowned
for
their
traps.
Investigation
and
Perception.
You
gain
additional
in-
sight
when
looking
for
traps,
because
you
have
learned
a
variety
of
common
signs
that
betray
their
presence.
Seta
Trap.
just
as
you can
disable
traps,
you
can
also
set
them.
As
part
of
a
short
rest,
you can
create
a
trap
using
items
you
have
on
hand.
The
total
of
your
check
becomes
the
DC
for
someone
else’s
attempt
to
discover
or
disable
the
trap.
The trap
deals
damage
appropriate
to
the
materials
used
in
crafting
it
(such
as
poison
or
a
weapon)
or
damage
equal
to
half
the
total
of
your
check,
whichever
the
DM
deems
appropriate.
THIEVES’
TOOLs
Activity
DC
Pick
a
lock
Varies
Disable
a
trap
Varies
TINKER’S
TOOLS
A
set
of
tinker’s
tools
is
designed
to
enable
you
to
repair
many
mundane
objects.
Though
you
can’t
manufacture
much
with
tinker’s
tools,
you
can
mend
torn
clothes,
sharpen
a
worn
sword,
and
patch
a
tattered
suit
of
chain
mail.
Components.
Tinker’s
tools include
a
variety
of
hand
tools,
thread,
needles,
a
Whetstone,
scraps
of
cloth
and
leather,
and
a
small
pot
of
glue.
History.
You
can
determine
the
age
and
origin
of
ob-
jects,
even
if
you
have
only
a
few
pieces
remaining
from
the
original.
Investigation.
When
you
inspect
a
damaged
ob-
ject,
you
gain
knowledge
of
how
it
was
damaged
and
how
long
ago.
Repair.
You
can
restore
10
hit
points
to
a
damaged
ob—
ject
for
each
hour
of
work.
For
any
object,
you
need
ac-
cess
to
the
raw
materials
required
to
repair
it.
For
metal
objects,
you
need
access
to
an
open
flame
hot
enough
to
make
the
metal
pliable.
TINKER’s
TOOLs
Activity
DC
Temporarily
repair
a
disabled
device
10
Repair
an
item
in
halfthe
time
l5
Improvise
a
temporary
item
using
scraps
20
Waxvsa‘s
TOOLS
Weaver‘s
tools
allow
you
to
create
cloth
and
tailor
it
into
articles
of
clothing.
Components.
Weaver’s
tools
include
thread,
needles,
and
scraps
of
cloth.
You
know
how
to
work
a
loom,
but
such
equipment
is
too
large
to
transport.
Arcana,
History.
Your
expertise
lends
you
additional
insight
when
examining
cloth
objects,
including
cloaks
and
robes.
Investigation.
Using
your
knowledge
of
the
process
of
creating
cloth
objects,
you
can
spot
clues
and
make
de-
ductions
that
others
would
overlook
when
you
examine
tapestries,
upholstery,
clothing,
and
other
woven
items.
Repair.
As
part
of
a
short
rest,
you
can
repair
a
single
damaged
cloth
object.
Craft
Clothing.
Assuming
you
have
access
to
suf—
ficient
cloth
and
thread,
you
can
create
an
outfit
for
a
creature
as
part
of
a
long
rest.
WEMER’S
TOOLS
Activity
DC
Repurpose
cloth
l0
Mend
a
hole
in
a
piece
ofcloth
l0
Tailor
an
outfit
15
Wooncxavsa’s
TOOLS
Woodcarver’s
tools
allow
you
to
craft
intricate
objects
from
wood,
such
as
wooden
tokens
or
arrows.
Components.
Woodcarver’s
tools
consist
of
a
knife,
a
gouge,
and
a
small
saw.
Arcana,
History.
Your
expertise
lends
you
additional
insight
when
you
examine
wooden
objects,
such
as
figu-
rines
or
arrows.
Nature.
Your
knowledge
of
wooden
objects
gives
you
some
added
insight
when
you
examine
trees.
Repair.
As
part
of
a
short
rest,
you
can
repair
a
single
damaged
wooden
object.
Craft
Arrows.
As
part
of
a
short
rest,
you
can
craft
up
to
five
arrows.
As
part
of
a
long
rest,
you
can
craft
up
to
twenty.
You
must
have
enough
wood
on
hand
to
produce
them.
WOODCARVER’S
TOOLS
Activity
DC
Craft
a
small
wooden
figurine
lO
Carve
an
intricate
pattern
in
wood
l5
SPELLCASTING
This
section
expands
on
the
spellcasting
rules
pre—
sented
in
the
Player's
Handbook
and
the
Dungeon
Mas-
ter’s
Guide,
providing
clarifications
and
new
Options.
PERCEIVING
A
CASTER
AT
WORK
Many
spells
create
obvious
effects:
explosions
of
fire,
walls
of
ice,
teleportation,
and
the
like.
Other
spells,
such
as
charm
person,
display
no
visible,
audible,
or
oth—
erwise
perceptible
sign
of
their
effects,
and
could
easily
go
unnoticed
by
someone
unaffected
by
them.
As
noted
in
the
Player’s
Handbook,
you
normally
don’t
know
that
a
spell
has
been
cast
unless
the
spell
produces
a
notice-
able
effect.
But
what
about
the
act
of
casting
a
spell?
Is
it
possible
for
someOne
to
perceive
that
a
spell
is
being
cast
in
their
presence?
To
be
perceptible,
the
casting
of
a
spell
must
involve
a
verbal,
somatic,
or
material
component.
The
form
of
a
material
component
doesn’t
matter
for
the
purposes
of
perception,
whether
it’s
an
object
specified
in
the
spell’s
description,
a
component
pouch,
or
a
spell-
casting
focus.
If
the
need
for
a
spell’s
components
has
been
removed
by
a
special
ability,
such
as
the
sorcerer’s
Subtle
Spell
feature
or
the
Innate
Spellcasting
trait
possessed
by
many
creatures,
the
casting
of
the
spell
is
imperceptible.
If
an
imperceptible
casting
produces
a
perceptible
ef-
fect,
it’s
normally
impossible
to
determine
who
cast
the
spell
in
the
absence
of
other
evidence.
IDENTIFYING
A
SPELL
Sometimes
a
character
wants
to
identify
a
spell
that
someone
else
is
casting
or
that
was
already
cast.
To
do
so,
a
character
can
use
their
reaction
to
identify
a
spell
as
it’s
being
cast,
or
they
can
use
an
action
on
their
turn
to
identify
a
spell
by
its
effect
after
it
is
cast.
If
the
character
perceived
the
casting,
the
spell’s
ef—
fect,
or
both,
the
character
can
make
an
Intelligence
(Ar-
cana)
check
with
the
reaction
or
action.
The
DC
equals
15
+
the
spell’s
level.
If
the
spell
is
cast
as
a
class
spell
and
the
character
is
a
member
of
that
class,
the
check
is
made
with
advantage.
For
example,
if
the
spellcaster
casts
a
spell
as
a
cleric,
another
cleric
has
advantage
on
the
check
to
identify
the
spell.
Some
spells
aren't
asso—
ciated
with
any
class
when
they’re
cast,
such
as
when
a
monster
uses
its
Innate
Spellcasting
trait.
This
Intelligence
(Arcana)
Check
represents
the
fact
that
identifying
a
spell
requires
a
quick
mind
and
famil-
iarity with
the
theory
and
practice
of
casting.
This
is
true
even
for
a
character
whose
spellcasting
ability
is
Wisdom
or
Charisma.
Being
able
to
cast
spells
doesn’t
by
itself
make
you
adept
at
deducing
exactly
what
others
are
doing
when
they
cast
their
spells.
INVALID
SPELL
TARGETS
A
spell
specifies
what
a
caster
can
target
with
it:
any
type
of
creature,
a
creature
of
a
certain
type
(humanoid
or
beast,
for
instance),
an
object,
an
area,
the
caster,
or
something
else.
But
what
happens
if
a
spell
tar-
gets
something
that
isn’t
a
valid
target?
For
example,
:.
.'§"j_-_,"_*‘,'~;
if)”.
';.-1
‘3
someone
might
cast
charm
person
on
a
creature
be-
lieved
to
be
a
humanoid,
not
knowing
that
the
target
is
in
fact
a
vampire.
If
this
issue
comes
up,
handle
it
using
the
following
rule.
If
you
cast
a
spell
on
someone
or
something
that
can’t
be
affected
by
the
spell,
nothing
happens
to
that
target,
but
if
you
used
a
spell
slot
to
cast
the
spell,
the
slot
is
..
"i
still
expended.
If
the
spell
normally
has
no
effect
on
a
”is.
-
.-
”“7:
target
that
succeeds
on
a
saving
throw,
the
invalid
target
'
.
.
appears
to
have
succeeded
on
its
saving
throw,
even
though
it
didn’t
attempt
one
(giving
no
hint
that
the
crea-
ture
is
in
fact
an
invalid
target).
Otherwise,
you
perceive
that
the
spell
did
nothing
to
the
target.
DIAGRAM
2,1:
CONE
TEMPLATE
AREAS
OF
EFFECT
ON
A
GRID
The
Dungeon
Master’s
Guide
includes
the
following
short
rule
for
using
areas
of
effect
on
a
grid.
Choose
an
intersection
of
squares
as
the
point
of
origin
of
an
area
of
effect,
then
follow
the
rules
for
that
kind
of
area
as
normal
(see
the
“Areas
of
Effect"
section
in
chapter
10
of
the
Player’s
Handbook).
If
an
area
of
ef—
fect
is
circular
and
covers
at
least
half
a
aware,
it
affects
,
_
that
square.
I'
That
rule
works,
but
it
can
require
a
fair
amount
of
on-the-spot
adjudication.
This
section
offers
two
alterna-
tives
for
determining
the
exact
location
of
an
area:
the
template
method
and
the
token
method.
Both
of
these
methods
assume
you’re
using
a
grid
and
miniatures
of
some
sort.
Because
these
methods
can
yield
different
results
for
the
number
of
squares
in
a
given
area,
it’s
SPHERE
TEMPLATE
not
recommended
that
they
be
combined
at
the
table—
choose
whichever
method
you
and
your
players
find
eas-
ier
or
more
intuitive.
DIAGRAM
2.2:
TEMPLATE
METHOD
The
template
method
uses
two—dimensional
shapes
that
represent
different
areas
of
effect.
The
aim
of
the
method
is
to
accurately
portray
the
length
and
width
of
each
area
on
the
grid
and
to
leave
little
doubt
about
which
creatures
are
affected
by
it.
You’ll
need
to
make
these
templates
or
find
premade
ones.
Making
a
Template.
Making
a
template
is
simple.
Get
a
piece
of
paper
or
card
stock,
and
cut
it
in
the
shape
of
the
area
of
effect
you’re
using.
Every
5
feet
of
the
area
_
equals
1
inch
of
the
template’s
size.
For
example,
the
ARM
US‘NG
TOHENS
20-foot—radius
sphere
of
the
fireball
spell,
which
has
a
40—foot
diameter,
would
translate
into
a
circular
tem—
plate
with
an
8-inch
diameter.
Using
a
Template.
To
use
an
area-of—effect
template,
apply
it
to
the
grid.
If
the
terrain
is
flat,
you
can
lay
it
on
the
surface;
otherwise,
hold
the
template
above
the
sur-
face
and
take
note
of
which
squares
it
covers
or
partially
covers.
If
any
part
of
a
square
is
under
the
template,
that
square
is
included
in
the
area
of
effect.
If
a
creature’s
miniature
is
in
an
affected
square,
that
creature
is
in
the
area.
Being
adjacent
to
the
edge
of
the
template
isn't
enough
for
a
square
to
be
included
in
the
area
of
effect;
the
square
must
be
entirely
or
partly
covered
by
the
template.
You
can
also
use
this
method
without
a
grid.
If
you
do
so,
a
creature
is
included
in
an
area
of
effect
if
any
part
of
the
miniature’s
base
is
overlapped
by
the
template.
DIAGRAM
2.3:
SQUARE
Dmennm
21::
Somme
AREA
WITH
TOTAL
Covert
till
\i"i'l-'.':=’.
'.'
i
DUNDEE)“;
t-.i.-\L‘5"i'-'Li-i':"i
'i't'iJCilH
Dmoanm
2.5:
Cones
Uswo
Texans
DIAGRAM
2J5:
LINES
USING
TOHENS
When
you
place
a
template,
follow
all
the
rules
in
the
Player’s
Handbook
for
placing
the
associated
area
of
effect.
If
an
area
of
effect,
such
as
a
cone
or
a
line,
origi-
nates
from
a
spellcaster,
the
template
should
extend
out
from
the
caster
and
be
positioned
however
the
caster
likes
within
the
bounds
of
the
rules.
Diagrams
2.1
and
2.2
show
the
template
method
in
action.
TOKEN
METHOD
The
token
method
is
meant
to
make
areas
of
effect
tactile
and
fun.
To
use
this
method,
grab
some
dice
or
other
tokens,
which
you’re
going
to
use
to
represent
your
areas
of
effect.
Rather
than
faithfully
representing
the
shapes
of
the
different
areas
of
effect,
this
method
gives
you
a
way
to
create
square-edged
versions
of
them
on
a
grid
easily,
as
described
in
the
following
subsections.
Using
Tokens.
Every
5-foot
square
of
an
area
of
effect
becomes
a
die
or
other
token
that
you
place
on
the
grid.
Each
token
goes
inside
a
square,
not
at
an
intersection
of
lines.
If
an
area’s
token
is
in
a
square,
that
square
is
included
in
the
area
of
effect.
It’s
that
simple.
Diagrams
2.3
through
2.6
show
this
method
in
action,
using
dice
as
the
tokens.
Circles.
This
method
depicts
everything
using
squares,
and
a
circular
area
of
effect
becomes
square
in
it,
whether
the
area
is
a
sphere,
cylinder,
or
radius.
For
instance,
the
10-foot
radius
of
flame
strike,
which
has
a
diameter
of
20
feet,
is
expressed
as
a
square
that
is
20
feet
on
a
side,
as
shown
in
diagram
2.3.
Diagram
2.4
shows
that
area
with
total
cover
inside
it.
Cones.
A
cone
is
represented
by
rows
of
tokens
on
the
grid,
extending
from
the
cone’s
point
of
origin.
In
the
rows,
the
squares
are
adjoining
side
by
side
or
corner
to
corner,
as
shown
in
diagram
2.5.
To
determine
the
num-
ber
of
rows
a
cone
contains,
divide
its
length
by
5.
For
example,
a
30-foot
cone
contains
six
rows.
Here’s
how
to
create
the
rows.
Starting
with
a
square
adjacent
to
the
cone’s
point
of
origin,
place
one
token.
The
square
can
be
orthogonally
or
diagonally
adjacent
to
the
point
of
origin.
In
every
row
beyond
that
one,
place
as
many
tokens
as
you
placed
in
the
previous
row,
plus
one
more
token.
Place
this
row’s
tokens
so
that
their
squares
each
share
a
side
with
a
square
in
the
previous
row.
If
the
cone
is
orthogonally
adjacent
to
the
point
of
origin,
you’ll
have
one
more
token
to
place
in
the
row;
place
it
on
one
end
or
the
other
of
the
row
you
just
created (you
don’t
have
to
pick
the
side
chosen
in
dia—
gram
2.5).
Keep
placing
tokens
in
this
way
until
you’ve
created
all
of
the
cone’s
rows.
Lines.
A
line
can
extend
from
its
source
orthogonally
or
diagonally,
as
shown
in
diagram
2.6.
ENCOUNTER
BUILDING
This
section
introduces
new
guidelines
on
building
com-
bat
encounters
for
an
adventure.
They
are
an
alternative
to
the
rules
in
“Creating
Encounters”
in
chapter
3
of
the
Dungeon
Master’s
Guide.
This
approach
uses
the
same
math
that
underlies
the
rules
presented
in
that
book,
but
it
makes
a
few
adjustments
to
the
way
that
math
is
pre-
sented
to
produce
a
more
flexible
system.
This
encounter—building
system
assumes
that,
as
DM,
you
want
to
have
a
clear
understanding
Of
the
threat
posed
by
a
group
Of
monsters.
It
will
be
useful
to
you
if
you
want
to
emphasize
combat
in
your
adventure,
ifyou
want
to
ensure
that
a
foe
isn't
tOO
deadly
for
a
group
Of
characters,
and
if
you
want
to
understand
the
relation-
ship
between
a
character’s
level
and
a
monster’s
chal-
lenge
rating.
Building
an
encounter
using
these
guidelines
follows
a
series
of
steps.
STEP
1:
ASSESS
THE
CHARACTERS
To
build
an
encounter
using
this
system,
first
take
stock
of
the
player
characters.
"This
system
uses
the
charac-
ters’
levels
to
determine
the
numbers
and
challenge
ratings
of
creatures
you
can
pit
them
against
Without
making
a
fight
too
hard
or
too
easy.
Even
though
char-
acter
level
is
important,
you
should
also
take
note
Of
each
character’s
hit
point
maximum
and
saving
throw
modifiers,
as
well
as
how
much
damage
the
mightiest
characters
can
deal
with
a
single
attack.
Character
level
and
challenge
rating
are
good
for
defining
the
difficulty
of
an
encounter,
but
they
don't
tell
the
whole
story.
You’ll
make
use
of
these
additional
character
statistics
when
you
select
monsters
for
an
encounter
in
step
4.
STEP
2:
CHOOSE
ENCOUNTER
SIZE
Determine
whether
you
want
to
create
a
battle
that
pits
one
creature
against
the
characters,
or
if
you
want
to
use
multiple
monsters.
If
the
fight
is
against
a
single
opponent,
your
best
candidate
for
that
foe
is
one
of
the
game’s
legendary
creatures,
which
are
designed
to
fill
this
need.
If
the
battle
involves
multiple
monsters,
de—
cide
roughly
how
many
creatures
you
want
to
use
before
continuing
with
step
3.
it
“T
E'
if
"2
,
ii'r
ti
t
3
E
f.
.3
fr?
5-4":
L-
}?
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i
ll
H118
STEP
3:
DETERMINE
NUMBERS
AND
CHALLENGE
RATINGS
The
process
for
building
fights
that
feature
only
one
leg-
endary
monster
is
simple.
The
Solo
Monster
Challenge
Rating
table
shows
you
which
challenge
rating
(CR)
to
use
for
a
legendary
creature
opposing
a
party
of
four
to
six
characters,
creating
a
satisfying
but
difficult
battle.
For
example,
for
a
party
of
five
9th~level
characters,
a
CR
12
legendary
creature
makes
an
optimal
encounter.
For
a
more
perilous
battle,
match
up
the
characters
with
a
legendary
creature
whose
challenge
rating
is
1
or
2
higher
than
optimal.
For
an
easy
fight,
use
a
legendary
creature
whose
challenge
rating
is
3
or
more
lower
than
the
challenge
rating
for
an
optimal
encounter.
SOLo
MONSTER
CHALLENGE
RATlNG
Party
Size—
Character
Level
6
Characters
5
Characters
4
Characters
lst
2
2
1
2nd
4
3
2
3rd
5
4
3
4th
6
5
4
5th
9
8
7’
6th
10
9
8
7th
11
1O
9
8th
12
11
10
9th
13
12
11
10th
14
13
12
11th
15
14
13
12th
17
16
15
13th
13
1?
16
14th
19
18
17
15th
20
19
13
16th
21
20
19
17th
22
21
20
18th
22
21
20
19th
23
22
21
20th
24
23
22
If
your
encounter
features
multiple
monsters,
balanc-
ing
it
takes
a
little
more
work.
Refer
to
the
Multiple
Monsters
tables,
which
are
broken
up
by
level
ranges,
providing
information
for
how
to
balance
encounters
for
characters
of
let—5th
level,
6th—10th
level,
llth—15th
level,
and
16th—20th
level.
First,
you
need
to
note
the
challenge
rating
for
each
creature
the
party
will
face.
Then,
to
create
your
encoun-
ter,
find
the
level
of
each
character
on
the
appropriate
ta-
ble.
Each
table
shows
what
a
single
character
of
a
given
level
is
equivalent
to
in
terms
of
challenge
rating—a
value
represented
by
a
ratio
that
compares
numbers
of
characters
to
a
single
monster
ranked
by
challenge
rat—
ing.
The
first
number
in
each
expression
is
the
number
of
characters
of
the
given
level.
The
second
number
tells
how
many
monsters
of
the
listed
challenge
rating
those
characters
are
equivalent
to.
For
example,
reading
the
row
for
lst-level
characters
from
the
let—5th
Level
table,
we
see
that
one
lat—level
character
is
the
equivalent
of
two
CR
1/8
monsters
or
one
CR
1/4
monster.
The
ratio
reverses
for
higher
chal—
lenge
ratings,
where
a
single
monster
is
more
powerful
than
a
single
1st-level
character.
One
CR
1/2
creature
is
equivalent
to
three
lst-level
characters,
while
one
CR
1
opponent
is
equivalent
to
five.
Let’s
say
you
have
a
party
of
four
3rdulevel
characters.
Using
the
table,
you can
see
that
one
CR
2
foe
is
a
good
match
for
the
entire
party,
but
that
the
characters
will
likely
have
a
hard
time
handling
a
CR
3
creature.
Using
the
same
guidelines,
you
can
mix
and
match
challenge
ratings
to
put
together
a
group
of
creatures
to
oppose
four
3rd-level
characters.
For
example,
you
could
select
one
CR
1
creature.
That’s
worth
two
3rd—
level
characters,
leaving
you
with
two
characters’
worth
of
monsters
to
allocate.
You
could
then
add
two
CR
1/4
monsters
to
account
for
one
other
character
and
one
CR
1/2
monster
to
account
for
the
final
character.
In
total,
your
encounter
has
one
CR
1,
one
CR
1/2,
and
two
CR
1/4
creatures.
For
groups
in
which
the
characters
are
of
different
lev-
els,
you
have
two
options.
You
can
group
all
characters
of
the
same
level
together,
match
them
with
monsters,
and
then
combine
all
the
creatures
into
one
encounter.
Alternatively,
you
can
determine
the
group’s
average
level
and
treat
each
character
as
being
of
that
level
for
the
purpose
of
selecting
appropriate
monsters.
The
above
guidelines
are
designed
to
create
a
fight
that
will
challenge
a
party
while
still
being
winnable.
If
you
want
to
create
an
easier
encounter
that
will
challenge
characters
but
not
threaten
to
defeat
them,
you can
treat
the
party
as
if
it
were
roughly
one-third
- -
.. - -
'
"flit-Wink, .
2:; '
- "
l'
'“h...'._
_.
_'
'3.
1:»
smaller
than
it
is.
For
example,
to
make
an
easy
encounu
tor
for
a
party
of
five
characters,
put
them
up
against
monsters
that
would
be
a
tough
fight
for
three
charac-
ters.
Likewise,
you
can
treat
the
party
as
up
to
half
again
larger
to
build
a
battle
that
is
potentially
deadly,
though
still
not
likely
to
be
an
automatic
defeat.
A
party
of
four
characters
facing
an
encounter
designed
for
six
charac-
ters
would
fall
into
this
category.
WEAK
MONSTERS
AND
HIGH—LEVEL
CHARACTERS
To
save
space
on
the
tables
and
keep
them
simple,
some
of
the
lower
challenge
ratings
are
missing
from
the
high—
er-level
tables.
For
low
challenge
ratings
not
appearing
on
the
table,
assume
a
1:12
ratio,
indicating
that
twelve
creatures
of
those
challenge
ratings
are
equivalent
to
one
character
of
a
specific
level.
STEP
4:
SELECT
MONSTERS
After
using
the
tables
from
the
previous
step
to
deter-
mine
the
challenge
ratings
of
the
monsters
in
your
en—
counter,
you’re
ready
to
pick
individual
monsters.
This
process
is
more
of
an
art
than
a
science.
In
addition
to
assessing
monsters
by
challenge
rating,
it’s
important
to
look
at
how
certain
monsters
might
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literal.
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owl
tqlcivxg
laqll
cl
Ufllw.
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ll
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6}
MULTIPLE
MONSTERS:
1ST—5TH
LEVEL
Challenge
Rating
Character
Level
1/3
1/4
1/2
1
2
3
4
1st
1:2
1:1
3:1
5:1
—
—
—
2nd
1:3
1:2
1:1
3:1
6:1
—
——
3rd
1:5
1:2
1:1
2:1
4:1
6:1
—
4th
1:8
1:4
1:2
1:1
2:1
4:1
6:1
5th
1:12
1:8
1:4
1:2
1:1
2:1
3:1
MULTIPLE
MONSTERS:
6TH—1OTH
LEVEL
Character
Level
113
1/4
1/2
1
2
3
4
6th
1:12
1:9
1:5
1:2
1:1
2:1
2:1
7th
1:12
1:12
1:6
1:3
1:1
1:1
2:1
8th
1:12
1:12
1:7
1:4
1:2
1:1
2:1
9th
1:12
1:12
1:8
1:4
1:2
1:1
1:1
10th
1:12
1:12
1:10
1:5
1:2
1:1
1:1
MULTIPLE
MONSTERS:
11TH—15TH
LEVEL
Character
Level
1
2
3
4
5
6
7
11th
1:6
1:3
1:2
1:1
2:1
2:1
2:1
12th
1:8
1:3
1:2
1:1
1:1
2:1
2:1
13th
1:9
1:4
1:2
1:2
1:1
1:1
2:1
14th
1:10
1:4
1:3
1:2
1:1
1:1
2:1
15th
1:12
1:5
1:3
1:2
1:1
1:1
1:1
MULTIPLE
MONSTERS:
16TH—2OTH
LEVEL
Challenge
Rating
5:1
6:1
5
4:1
3:1
3:1
2:1
2:1
Challenge
Rating
8
3:1
3:1
2:1
2:1
2:1
Character
Level
2
3
4
5
6
7
8 9
16th
1:5
1:3
1:2
1:1
1:1
1:1
2:1
2:1
12th
1:7
1:4
1:3
1:2
1:1
1:1
1:1
2:1
18th
1:7
1:5
1:3
1:2
1:1
1:1
1:1
2:1
19th
1:8
1:5
1:3
1:2
1:2
1:1
1:1
1:1
20th
129
1:6
1:4
1:2
1:2
1:1
1:1 1:1
stack
up
against
your
group.
Hit
points,
attacks,
and
saving
throws
are
all
useful
indicators.
Compare
the
damage
a
monster
can
deal
to
the
hit
point
maximum
of
each
character.
Be
wary
of
any
monster
that
is
capable
of
dropping
a
character
with
a
single
attack,
unless
you
are
designing
the
fight
to
be
especially
deadly.
In
the
same
way,
compare
the
monsters’
hit
points
to
the
damage
output
of
the
party’s
strongest
characters,
again
looking
for
targets
that
can
be
killed
with
one
blow.
Having
a
significant
number
of
foes
drop
in
the
first
rounds
of
combat
can
make
an
encounter
too
easy.
Likewise.
look
at
whether
a
monster’s
deadliest
abilities
call
for
saving
throws
that
most
of
the
party
members
are
weak
with,
and
compare
the
characters’
offensive
abilities
to
the
monsters’
saving
throws.
If
the
only
creatures
you
can
choose
from
at
the
de—
sired
challenge
rating
aren’t
a
good
match
for
the
char-
acters’
statistics,
don’t
be
afraid
to
go
back
to
step
3.
By
altering
your
challenge
rating
targets
and
adjusting
the
.‘-.l."15'i'i;'iu:"§
M31113
"
L’.
!
121113411,-
151,174
10
2:1
2:1
2:1
2:1
1:1
Challenge
Rating
5:1
6:1
—
—
—
4:1
5:1
—
—
—
3:1
4:1
6:1
—
—
3:1
4:1
5:1
6:1
—
2:1
3:1
4:1
5:1
6:1
9
10
11
12 13
14
15
4:1
5:1
6:1
—
——
— —
3:1
4:1
5:1
6:1
—
—
—
3:1
3:1
4:1
5:1
3:1
3:1
4:1
4:1
5:1
6:1
—
2:1
3:1
3:1
4:1
5:1
5:1
6:1
11
12
13
14
15
16
17
18
19
20
3:1
4:1
4:1
5:1
5:1
6:1
-— -—
—
——
2:1
3:1
3:1
4:1
4:1
5:1
6:1
-—
—
—
2:1
3:1
3:1
4:1
4:1
5:1
6:1
6:1
—
——
2:1
2:1
3:1
3:1
4:1 4:1
5:1
6:1 6:1
—
2:1
2:1
2:1
3:1
3:1
4:1 4:1
5:1
5:1
6:1
number
of
creatures
in
the
encounter,
you
can
come
up
with
different
options
for
building
the
encounter.
STEP
5:
ADD
FLAVOR
The
events
that
unfold
during
an
encounter
have
to
do
with
a
lot
more
than
swinging
weapons
and
casting
spells.
The
most
interesting
confrontations
also
take
into
account
the
personality
or
behavior
of
the
monsters,
perhaps
determining
whether
they
can
be
communi—
cated
with
or
whether
they’re
all
acting
in
concert.
Other
possible
factors
include
the
nature
of
the
physical
envi-
ronment,
such
as
whether
it
includes
obstacles
or
other
features
that
might
come
into
play,
and
the
ever—present
possibility
of
something
unexpected
taking
place.
If
you
already
have
ideas
for
how
to
flesh
out
your
encounter
in
these
ways,
go
right
ahead
and
finish
your
creation.
Otherwise,
take
a
look
at
the
following
sec—
tions
for
some
basic
advice
on
adding
flavor
elements
to
the
simple
mechanics
of
the
fight.
MONSTER
PERSONALITY
To
address
the
question
of
a
monster’s
personality,
you
can
use
the
tables
in
chapter
4
of
the
Dungeon
Master’s
Guide,
use
the
Monster
Personality
table
below,
or
sim-
ply
jot
down
a
few
notes
based
on
a
creature’s
Monster
Manna}
description.
During
the
battle,
you
can
use
these
ideas
to
inform
how
you
portray
the
monsters
and
their
actions.
To
keep
things
simple,
you
can
assign
the
same
personality
traits
to
an
entire
group
of
monsters.
For
ex-
ample,
one
bandit
gang
might
be
an
unruly
mob
of
brag—
garts,
while
the
members
of
another
gang
are
always
on
edge
and
ready
to
flee
at
the
first
sign
of
danger.
MONSTER
PERSONALITY
d8
Personality
l
Cowardly;
looking
to
surrender
2
Greedy;
wants
treasure
3
Braggart;
makes
a
show
of
bravery
but
runs
from
danger
Fanatic;
ready
to
die
fighting
Rabble;
poorly
trained
and
easily
rattled
4
5
6
Brave;
stands
its
ground
7
Joker;
taunts
its
enemies
8
Bully;
refuses
to
believe
it
can
lose
MONSTER
RELATIONSHIPS
Do
rivalries,
hatreds,
or
attachments
exist
among
the
monsters
in
an
encounter?
If
so,
you
can
use
such
re—
lationships
to
inform
the
monsters’
behavior
during
combat.
The
death
of
a
much—revered
leader
might
throw
its
followers
into
a
frenzy.
On
the
other
hand,
a
monster
might
decide
to
flee
if
its
spouse
is
killed,
or
a
mistreated
toady
might
be
eager
to
surrender
and
betray
its
master
in
return
for
its
life.
MONSTER
RELATIONSHIPS
d6
Relationship
1
Has
a
rival;
wants
one
random
ally
to
suffer
2
ls
abused
by
others;
hangs
back,
betrays
at
first
opportunity
ls
worshiped;
allies
will
die
for
it
Is
outcast
by
group;
its
allies
ignore
it
Is
outcast
by
choice;
cares
only
for
itself
Chm-hum
ls
seen
as
a
bully;
its
allies
want
to
see
it
defeated
TERRAIN
AND
TRAPS
A
few
elements
that
make
a
battlefield
something
other
than
a
large
area
of
flat
ground
can
go
a
long
way
to-
ward
spicing
up
an
encounter.
Consider
setting
your
en—
counter
in
an
area
that
would
provide
challenges
even
if
a
fight
were
not
taking
place
there.
What
potential
perils
or
other
features
might
draw
the
characters’
attention,
either
before
or
during
the
fight?
Why
are
monsters
lurk-
ing
in
this
area
to
begin
with—does
it
offer
good
hiding
places,
for
instance?
To
add
details
to
an
encounter
area
at
random,
look
to
the
tables
in
appendix
A
of
the
Dungeon
Master’s
Guide
to
determine
room
and
area
features,
potential
hazards,
obstacles,
traps,
and
more.
RANDOM
EVENTS
Consider
what
might
happen
in
an
encounter
area
if
the
characters
were
to
never
enter
it.
Do
the
guards
serve
in
shifts?
What
other
characters
or
monsters
might
visit?
Do
creatures
gather
there
to
eat
or
gossip?
Are
there
any
natural
phenomena—such
as
strong
winds,
earth
tremors,
or
rain
squalls—that
sometimes
take
place
in
the
area?
Random
events
can
add
a
fun
element
of
the
unexpected
to an
encounter.
Just
when
you
think
a
fight’s
outcome
is
evident,
an
unforeseen
event
can
make
things
more
compelling.
A
number
of
the
tables
in
the
Dungeon
Master’s
Guide
can
suggest
random
events.
The
tables
used
for
encoun—
ter
location,
weird
locales,
and
wilderness
weather
in
chapter
5
of
that
book
are
a
good
starting
point
for
out—
door
encounters.
The
tables
in
appendix
A
can
be
useful
for
indoor
and
outdoor
encounters—especially
the
tables
for
obstacles,
traps,
and
tricks.
Finally,
consult
the
ran-
dom
encounter
tables
in
the
next
section
of
this
book
for
inspiration.
QUICK
MATCHUPS
The
guidelines
above
assume
that
you
are
concerned
about
balance
in
your
combat
encounters
and
have
enough
time
to
prepare
them.
If
you
don’t
have
much
time,
or
if
you
want
simpler
but
less
precise
guidelines,
the
Quick
Matchups
table
below
offers
an
alternative.
This
table
gives
you
a
way
to
match
a
character
of
a
certain
level
with
a
number
of
monsters.
The
table
lists
the
challenge
ratings
to
use
for
including
one,
two,
and
four
monsters
per
character
for
each
level.
For
in-
stance,
looking
at
the
3rd-1eve1
entry
on
the
table,
you
can
see
that
a
CR
1/2-
monster
is
equivalent
to
one
3rd-
level
character,
as
are
two
CR
1/4
monsters
and
four
CR
1/8
ones.
QUICK
MATCHUPS
Character
Level
'|
Monster
2
Monsters
4
Monsters
lst
1/4
1/8
-*-
2nd
I/2
1/4
—a
3rd
1/2
1/4
1/8
4th
1/2
1/4
5th
1/2
6th
1/2
7th 1/2
8th
9th
‘
10th
llth
12th
13th
14th
15th
16th
17th
18th
19th
20th
_.I
—l
mmmuwmmmbh—bwwmm
mmmm—h-h-b-hwwNNN—I—I
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RANDOM
ENCOUNTERS:
AWORLD
OF
POSSIBILITIES
Chapter
3
of
the
Dungeon
Master’s
Guide
provides
guid-
ance
on
using
random
encounters
in
your
game.
This
section
builds
on
that
guidance,
offering
a
host
of
ran—
dom
encounter
tables
for
you
to
use
when
you
determine
that
a
random
encounter
is
going
to
take
place.
Using
the
monster
lists
in
appendix
B
of
that
book
as
a
basis,
we’ve
built
a
set
of
tables
for
each
environment
category:
arctic,
coastal,
desert,
forest,
grassland,
hill,
mountain,
swamp,
Underdark,
underwater,
and
urban.
Within
each
category,
separate
tables
are
provided
for
each
of
the
four
tiers
of
play:
levels
1—4,
5—10,
11—16,
and
17—20.
Even
though
you
can
use
these
tables
“out
of
the
box,”
the
advice
in
the
Dungeon
Master’s
Guide
still
holds
true:
tailoring
such
tables
to
your
game
can
reinforce
the
themes
and
flavor
of
your
campaign.
We
encourage
you
to
customize
this
material
to
make
it
your
own.
In
the
tables,
a
name
in
bold
refers
to
a
stat
block
in
the
Monster
Manual.
FLIGHT,
OR
FIGHT,
OR
‘?
Each
of
the
results
on
these
tables
represents
a
certain
kind
of
challenge
or
potential
challenge.
Ifyou
let
the
dice
have
their
way
and
the
result
is
a
large
number
of
monsters,
the
generated
encounter
might
be
too
difficult
or
dangerous
for
the
characters
in
their
present
circumstances.
They
might
want
to
flee
to
avoid
contact,
or
not
to
approach
any
closer
after
per—
ceiving
the
monsters
from
a
distance.
Of
course,
you
also
have
the
freedom
to
adjust
the
numbers,
but
it’s
important
to
remember
that
not
every
encounter
involving
a
monster
needs
to
result
in
combat.
An
encounter
might
indeed
be
the
prelude
to
a
battle,
a
parley,
or
some
other
interaction.
What
happens
next
depends
on
what
the
characters
try,
or
what
you
decide
is
bound
to
occur.
The
tables
also
include
entries
for
what
the
Dungeon
Master’s
Guide
calls
“encounters
of
a
less
monstrous
nature.”
Many
of
these
results
cry
out
to
be
customized
or
detailed,
which
offers
you
an
opportunity
to
connect
them
to
the
story
of
your
campaign.
And
in
so
doing,
you've
taken
a
step
toward
making
your
own
personal-
ized
encounter
table.
Now,
keep
going!
ARCTIC
ENCOUNTERS
(LEVELs1—4)
d100
Encounter
01
1
giant
owl
02‘05
1d6
+
3
kobolds
06—08
1d4
+
3
trappers
(commoners)
09—10
1
owl
11‘12
2d4
blood
hawks
1347
2:16
bandits
in
‘xi-"TE-‘ii
'_-‘
I
Eiii'ityl'ilfihi
maul-2‘s
‘rtimisa
d100
13_20
21—25
26—29
30—35
36~40
41—45
46—50
51—53
54—55
56—57
58—60
61—65
66—68
69—70
71—72
73—75
76—80
81
82
83
84
85
86—87
88
89
90
91
92-93
94—95
96—97
98
99
00
ARCTIC
ENCOUNTERS
(LEVELS
5—10)
d100
01—05
06—07
08—10
11—15
16—20
21—25
26—30
31—35
36—40
41—45
46—50
51—53
Encounter
1d3
winged
kobolds
with
1d6
kobolds
The
partially
eaten
carcass
ofa
mammoth,
from
which
1d4
weeks
of
rations
can
be
harvested
2d8
hunters
(tribal
warriors)
1
half-ogre
Single-file
tracks
in
the
snow
that
stop
abruptly
1d3
ice
mephits
1
brown
bear
1d6
+
1
orcs
1
polar
bear
1d6
scouts
1
saber-toothed
tiger
A
frozen
pond
with
a
jagged
hole
in
the
ice
that
ap-
pears
recently
made
1
berserker
1
ogre
1
griffon
1
druid
3d4
refugees
(commoners)
fleeing
from
orcs
1d3
veterans
1d4
orogs
2
brown
bears
1
are
Eye
ofGruumsh
with
2d8
orcs
1d3
winter
wolves
1d4
yetis
1
half-ogre
1d3
manticores
1
bandit
captain
with
2d6
bandits
1
revenant
1
troll
1
werebear
1
young
remorhaz
1
mammoth
1
young
white
dragon
1
frost
giant
Encounter
2
saber-toothed
tigers
1d4
half-ogres
1d3
+
1
brown
bears
1d3
polar
bears
2d4
berserkers
A
half-orc
druid
tending
to
an
injured
polar
bear.
If
the
characters
assist
the
druid,
she
gives
them
a
vial
ofantitoxin.
2d8
scouts
2d4
ice
mephits
2d6
+1
zombies
aboard
a
galleon
trapped
in
the
ice.
Searching
the
ship
yields
2d20
days
of
rations.
1
manticore-
2d6
+
3
orcs
1d6
+
2
ogres
d100
54—55
56—57
53—60
61—65
66—63
69—?2
73—75
?6—80
81—82
33—84
35—86
37—38
39—90
91—92
93~94
95—96
97—93
99
00
Encounter
2d4
griffons
1d4
veterans
1
bandit
captain
with
1
druid.
1d3
berserkers,
and
2d10
+
5
bandits
1d4
hours
ofextrerne
cold
(see
chapter
5
ofthe
Dungeon
Master's
Guide)
1
young
remorhaz
1
orc
Eye
ofGruumsh
with
1d6
orogs
and
2d8
+
6
orcs
1
revenant
A
howl
that
echoes
over
the
land
for
1d3
minutes
1d3
mammoths
1
young
white
dragon
2d4
winter
wolves
1d6
+
2
yetis
1d2
frost
giants
1d3
werebears
1d4
trolls
1
abominable
yeti
1
remorhaz
1
roc
2d4
young
remorhazes
ARCTIC
ENCOUNTERS
(LEVELS
11—16)
d100
01
02—04
05—10
11—20
21—25
26—35
36—40
41—50
51—60
61—65
66—75
76—80
81—90
91-96
97-—99
00
Encounter
1
abominable
yeti
1d6
revenants
1d4
+
1
werebears
1d3
young
white
dragons
A
blizzard
that
reduces
visibility
to
5
feet
for
1d6
hours
1
roC
A
herd
of3d20
+
60
caribou
(deer)
moving
through
the
snow
1d4
mammoths
1d3
+
1
trolls
A
mile-wide
frozen
lake
in
which
the
preserved
corpses
of
strange
creatures
can
be
seen
2d4
young
remorhazes
A
crumbling
ice
castle
littered
with
the
frozen
bod-
ies
ofblue-skinned
humanoids
1
adult
white
dragon
1d8
+
1
frost
giants
1d4
remorhazes
1
ancient
white
dragon
El
Cram1
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ww
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ARCTIC
ENCOUNTERS
(LEVELS
17—20)
d100
01—02
03—04
05~06
07—08
09—10
11—20
21—25
26—35
36-—4O
41—50
51—60
61—65
66—75
76—80
81—90
91—96
97—99
00
Encounter
2d10
revenants
2d8
trolls
2d
10
werebears
1
frost
giant
2d4
young
remorhazes
1d4
frost
giants
A
Circular
patch
of
black
ice
on
the
ground.
The
air
temperature
around
the
patch
is
warmer
than
in
the
surrounding
area.
and
characters
who
inspect
the
ice
find
bits
ofmachinery
frozen
within.
1
ancient
white
dragon
An
adventurer
frozen
6
feet
under
the
ice;
50%
chance
the
corpse
has
a
rare
magic
item
ofthe
DM’S
choice
1d3
abominable
yetis
1d4
remorhazes
A
BOO—foot-high
wall
of
ice
that
is
300
feet
thick
and
spread
across
1d4
miles
1d4
recs
The
likeness
ofa
stern
woman
with
long,
flowing
hair,
carved
into
the
side
ofa
mountain
1d10
frost
giants
with
2d4
polar
bears
1d3
adult
white
dragons
2d4
abominable
yetis
1
ancient
white
dragon
with
1d3
young
white
dragons
COASTAL
ENCOUNTERS
(LEVELS
1—4)
d100
01
02—05
06—10
11
12—13
14—15
16—13
19—20
21—25
26—27
28~29
30—3i
32—33
34—35
36—40
41—42
Encounter
1
pseudodragon
2d8
crabs
2d6
fishers
(commoners)
1d3
poisonous
snakes
1d6
guards
protecting
a
stranded
noble
2d4
scouts
2d10
merfolk
1d6
+
2
sahuagin
1d4
ghouls
feeding
on
corpses
aboard
the
wreck-
age
ofa
merchant
ship.
A
search
uncovers
2d6
bolts
of
ruined
silk,
a
50-foot
length
ofrope.
and
a
barrel
ofsalted
herring.
1d4
winged
kobolds
with
1d6
+
1
kobolds
2d6
tribal
warriors
3d4
kobolds
2d4
+
5
blood
hawks
1d8
+
1
pteranodons
A
few
dozen
baby
turtles
struggling
to
make
their
way
to
the
sea
1d6
+
2
giant
lizards
:
"
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.
iiiulfuifriiffiis
"r!
“LR—i
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'i'iitil
”-
H‘s—nun-
d100
Encounter
43—44
1d6
+
4
giant
crabs
45—46
2d4
stirges
47—48
2d6
+
3
bandits
49—53
2d4
sahuagin
54—55
1d6
+
2
scouts
56—60
1
sea
hag
61—65
A
momentary
formation
in
the
waves
that
looks
like
an
enormous
humanoid
face
66—70
1
druid
71—75
1d4
harpies
76—80
A
lone
hermit
(acolyte)
sitting
on
the
beach,
con—
templating
the
meaning
ofthe
multiverse
81
1d4
berserkers
82
1d6
giant
eagles
83
2d4
giant
toads
84
1d4
ogres
or
1d4
merrow
85
3d6
sahuagin
86
1d4
veterans
87
1d2
plesiosauruses
88
1
bandit
captain
with
2d6
bandits
89
1:13
manticores
90
1
banshee
91—92
1d4
+
3
griffons
93—94
1
sahuagin
priestess
with
1d3
merrow
and
2d6
sahuagin
95—96
1
sahuagin
baron
97—98
1
water
elemental
99
1
cyclops
00
1
young
bronze
dragon
COASTAL
ENCOUNTERS
(LEVELS
5—10)
d100
Encounter
01
2d8
giant
wolf
spiders
02—03
3d6
pteranodons
04—05
2d4
scouts
06—07
1d6
+
2
sahuagin
08
1
sea
hag
09—10
1d4
+
1
giant
toads
11—15
3d6
sahuagin
16—20
2d6
giant
eagles
21—25
A
pseudodragon
chasing
gulls
through
the
air
26—29
1d2
druids
30—32
2d4
+
1
giant
toads
33—35
1
commoner
singing
a
dirge
(day
only)
or
1
banshee
(night
only)
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d100
Encounter
36—40
A
stoppered
bottle
containing
an
illegible
note
and
half
buried
in
the
sand
41—43
3
sea
hags
44—46
1d8
+
1
harpies
47—50
1d4
plesiosauruses
51—53
1d4
manticores
54—56
2d4
ogres
57—60
1d10
grifi'ons
61—65
A
battle
at
sea
between
two
galleons
66—70
1d4
+
3
merrow
71—75
A
pirate
crew
consisting
of1
bandit
captain,
1
druid,
2
berserkers,
and
2d12
bandits,
all
searching
for
buried
treasure
76—80
A
severed
humanoid
hand
tangled
in
a
net
81-82
1
water
elemental
83—84
1
cyclops
85—86
1d4
banshees
(night
only)
87—88
2d4
veterans
89—90
1
young
bronze
dragon
91—93
1d3
cyclopes
94—95
1
young
blue
dragon
96
1
sahuagin
baron
with
1d3
sahuagin
priestesses
and
2d8
sahuagin
97
1
djinni
98
1
rec
99
1
marid
00
1
storm
giant
COASTAL
ENCOUNTERS
(LEVELS
11—16)
d100
Encounter
01
1d4
banshees
(night
only)
02—04
1
cyclops
05—08
1d6
+
2
manticores
09—10
1d8
+
2
veterans
11—20
1
young
blue
dragon
21—25
A
nest
of1d6
dragon
turtle
eggs
26—35
1d4
sahuagin
barons
36—40
A
trident
partially
buried
in
the
sand
41—50
1
young
bronze
dragon
51-55
1
marid
56-60
1d6
water
elementals
61-65
2d6
ghasts
crawling
over
1d6
wrecked
ships
and
feeding
on
the
dead
66—70
1
djinni
71—75
1d3
young
bronze
dragons
76—80
A
beached
whale,
dead
and
bloated.
Ifit
takes
any
damage,
it
explodes,
and
each
creature
within
30
feet
of
it
must
make
a
DC
15
Dexterity
saving
throw,
taking
5d6
bludgeoning
damage
on
a
failed
save,
or
halfas
much
damage
on
a
successful
one.
81—82
2d4
cyclopes
83—84
1
storm
giant
85—86
1d3
young
blue
dragons
d100
8?—83
89—90
91—93
94—9?
98—99
00
Encounter
1
adult
bronze
dragon
1
adult
blue
dragon
1d3
recs
1
dragon
turtle
1
ancient
bronze
dragon
1
ancient
blue
dragon
COASTAL
ENCOUNTERS
(LEVELS
17—20)
d100
01—10
11—20
21—25
26—40
41—50
51—60
61
—70
F1—75
76—30
81—90
91—96
9?—99
00
Encounter
1
rec
1
storm
giant
An
adult
bronze
dragon
fighting
an
adult
blue
dragon
to
the
death
2d6
cyclopes
1
adult
bronze
dragon
or
1
adult
blue
dragon
1d3
djinn
or
1d3
marids
1
dragon
turtle
1d3
rocs
1d6
+
2
waterspouts
that
dance
on
the
water
before
stopping
abruptly
1d6
young
blue
dragons
1
ancient
bronze
dragon
1
ancient
blue
dragon
1d3
+
1
storm
giants
DESERT
ENCOUNTERS
(LEVELS
1—4)
d100
01
02
O3
04
05
O6
07
08
09
10
11—13
14-15
16—17
18—20
21—25
26~27
23~29
30—31
Encounter
3d8
scorpions
2d4
vultures
1
abandoned
mule
2d6
commoners
with
2d4
camels
bound
for
a
dis-
tant
city
1d6
flying
snakes
2d6
hyenas
or
2d6
jackals
1d6
guards
escorting
a
noble
to
the
edge
ofthe
desert,
all
ofthem
astride
camels
1d6
cats
1
pseudodragon
1d4
poisonous
snakes
2d4
stirges
1d6
+
2
giant
wolfspiders
1
scout
2d4
giant
poisonous
snakes
Sing|e~file
tracks
marching
deeper
into
the
desert
4d4
kobolds
1
jackalwere
3d6
tribal
warriors
t.21l.--\i"l-l".?l
‘3.
i‘Ji_F=‘~.'IT}lf.t'.'1.\J
.‘il
1.5
FER'F-
THURS
d100
32—33
34—35
36—40
41—44
45—46
47—43
49~50
51—52
53—54
55
56—57
53
59~50
61—65
66—67
68
69
30—31
32
73—74
75
76—30
31—32
33
34
35—36
37
33—39
90
91
92
93
94
95
96
97
93
99
00
Encounter
1d6
giant
lizards
1
swarm
of
insects
An
oasis
surrounded
by
palm
trees
and
containing
the
remnants
ofan
old
camp
3d6
bandits
1d4
constrictor
snakes
2d4
winged
kobolds
1
dust
mephit
1d3
+
1
giant
toads
1d4
giant
spiders
1
druid
2d4
hobgoblins
1
wight
1
ogre
A
brass
lamp
lying
on
the
ground
1d4
giant
vultures
1
phase
spider
1
giant
constrictor
snake
1
gnoll
pack
lord
with
1d3
giant
hyenas
1d6
+
2
gnolls
1
mummy
1d3
half-ogres
A
pile
ofhumanoid
bones
wrapped
in
rotting
cloth
1
lamia
1
hobgoblin
captain
with
2d6
hobgoblins
2d4
death
dogs
1d4
giant
scorpions
1
yuan-ti
malison
with
1d4
+
1
yuan-ti
purebloods
1
bandit
captain
with
1
druid
and
3d6
bandits
2d4
thri-kreen
1
air
elemental
1d3
couatls
1
fire
elemental
1d4
gnoll
fangs
oeenoghu
1
revenant
1d4
weretigers
1
cyclops
1
young
brass
dragon
1
medusa
1
yuan-ti
abomination
DESERT
ENCOUNTERS
(LEVELS
5—10)
dioo
01
02
03
04
OS
06
07—08
09—10
11—12
13—17
1'
‘
|
l
:1.
1-"
l'
i"
ii
Encounter
1d6
scouts
2d4
jackalweres
2d6
hobgoblins
1d4
+
3
dust
mephits
1d6
swarms
of
insects
1
giant
constrictor
snake
1
lion
2d4
gnolls
2d6
giant
toads
1
mummy
liiliM
(.1
L1
rs
Ni
i‘t'fé'l'
ii
it
'
H
l
()l'.
l
l
.l'-'.
d100
18—20
21—25
26—28
29—35
36—40
41—43
44—46
47—50
51—52
53
54—55
56
57—58
59—60
61—65
66
67—68
69—70
71—72
73
74—75
76—80
81—83
84—85
86—87
88—90
91
92
93
94
95
96
97
98
99
00
DESERT
d100
01
02—05
06—10
11—12
13—14
15—17
18—20
21—25
26—27
28—30
31—32
33—35
Encounter
1d8
+
1
giant
vultures
A
stone
obelisk
partly
buried
in
the
sand
1
ogre
with
1d3
half-ogres
1d10
giant
hyenas
1d6
+1
empty
tents
1d6
+
2
thri-kreen
2d4
yuan-ti
purebloods
1d6
+
3
death
dogs
1d4
giant
scorpions
1
fire
elemental
1
hobgoblin
captain
with
3d4
hobgoblins
1d6
+
2
ogres
1d4
lamias
1
air
elemental
A
meteorite
resting
at
the
bottom
ofa
glassy
crater
1d4
+
1
wights
1
young
brass
dragon
1
bandit
captain
with
1d3
berserkers
and
3d6
bandns
1
cyclops
1d4
couatls
1d4
yuan-ti
malisons
Strong
winds
that
kick
up
dust
and
reduce
visibility
to
1d6teetfor1d4
hours
1
revenant
with
1d3
wights
1d8
+
1
phase
spiders
1d6
+
2
weretigers
2d4
gnoll
fangs
oeenoghu
1
young
blue
dragon
1d4
cyclopes
1d3
yuan-ti
abominations
1d4
medusas
1
guardian
naga
1d3
young
brass
dragons
1
efreeti
1
roc
1
gynOSphinx
1
adult
brass
dragon
ENCOUNTERS
(LEVELS
11—16)
Encounter
1
young
brass
dragon
4d6
gnolls
3d10
giant
hyenas
1d8
+
1
lamias
2d4
gnoll
fangs
oeenoghu
1d6
+
2
giant
scorpions
2d4
phase
spiders
A
desert
caravan
consisting
oi1d6
merchants
{no-
bles)
with
2d6
guards
1d6
+
1
couatls
1d4
fire
elementals
1
hobgoblin
captain
with
3d10
+
10
hobgoblins
2d4
wights
d100
36—40
41—42
43—45
46—43
49—50
51—55
56—60
61—65
66—70
71—75
76—73
79—82
33—85
36
8?—33
89
90
91
92-93
94
95
96—97
93—99
00
DESERT
d100
01405
06410
11—14
15—18
19—22
23—25
26-30
31
—35
36—40
41—50
51—60
61—63
64—?2
?3—80
81—85
36~90
91—96
97—99
00
Encounter
1d6
square
miles
ofdesert
glass
1
young
blue
dragon
1d6
+
2
weretigers
1d4
air
elementals
1d6
+
1
yuan-ti
malisons
1d4
medusas
1d4
revenants
with
3d12
skeletons
A
plundered
pyramid
1d4
young
brass
dragons
1d3
yuan-ti
abominations
1d6
+
2
cyclopes
1
adult
brass
dragon
1
purple
worm
1d2
young
blue
dragons
1
mummy
lord
1d3
guardian
nagas
1
adult
blue
dragon
1d2
gynosphinxes
1d3
efreet
1
androsphinx
1d4
rocs
1
adult
blue
dracolich
1
ancient
brass
dragon
1
ancient
blue
dragon
ENCOUNTERS
(LEVELS
17—20)
Encounter
1
adult
brass
dragon
1d2
yuan-ti
abominations
with
2d10
+
5
yuan-ti
malisons
and
4d6
+
6
yuan-ti
purebloods
1d6
+
2
medusas
1d2
purple
worms
2d4
cyclopes
An
abandoned
city
made
from
white
marble,
empty
during
the
day.
At
night,
harmless
apparitions
roam
the
streets,
replaying
the
final
moments
of
their
lives.
1d3
young
blue
dragons
1
mummy
lord
1d4
hours
ofextreme
heat
(see
chapter
5
ofthe
Dungeon
Master’s
Guide)
1d3
guardian
nagas
1d4
efreet
An
old
signpost
identifying
a
single
destination,
called
Pazar
1d4
rocs
1d3
gynosphinxes
1
adult
blue
dracolich
1
androsphinx
1
ancient
brass
dragon
1
ancient
blue
dragon
1d4
adult
brass
dragons
FOREST
ENCOUNTERS
(LEVELS
1—4)
d100
01
02
O3
O4
05
O6
O7
08
09
1O
11
12
13
14
15
16
17
18
19
20
21—25
26
27
28
29
30
31
32
33
34
35
36—40
41
42
43
44
45
46
47
48
49
50
51
52
Encounter
1
giant
owl
1d4
cats
2d4
woodcutters
(commoners)
1
badger
or
1d4
poisonous
snakes
2d8
baboons
1d6
+
3
hyenas
1
owl
1
pseudodragon
1
panther
1
giant
poisonous
snake
1d6
+
2
boars
1d4
+
1
giant
lizards
1
ape
or
1
tiger
2d6
tribal
warriors
with
1d6
mastis
1d6
+
2
giant
bats
or
3d6
flying
snakes
1
scout
or
2d4
guards
with
1d8
mastifi's
1d8
+
1
winged
kobolds
1d3
constrictor
snakes
1d10
+
5
giant
rats
or
2d6
+
3
giant
weasels
1d4
+
1
needle
blights
with
1d6
+
3
twig
blights
A
lost,
weeping
child.
lithe
characters
take
the
child
home,
the
parents
reward
them
with
1d3
po-
tions
ofhealing.
1d8
+
1
giant
frogs
4d4
kobolds
1d3
black
bears
3d6
stirges
1
satyr
2d4
kenku
1d3
vine
blights
with
1d12
awakened
shrubs
1d4
swarms
ofravens
1
faerie
dragon
(yellow
or
younger)
1d4
+
2
giant
badgers
A
young
woodcutter
(scout)
racing
through
the
for-
est
to
rescue
a
lost
friend
2d4
blink
dogs
1d8
+1
sprites
1d6
+
2
elk
1d4
lizardfolk
or
3d6
bandits
1d4
+
4
wolves
2d4
giant
wolfspiders
1
swarm
ofinsects
or
2d8
blood
hawks
1d6
+
2
pixies
1
brown
bear
1d4
+
3
goblins
1d3
dryads
1
awakened
tree
illi.--'xl"ilal--1
L’
:_11.I:-4111-_'r.1.‘~<
."al
1.51114?
l'k—T'i'llf‘
'
'
._.,’__..,.
d100
53
54
55
56
57
58
59
60
61-65
66
67
68
69
70
71
3’2
73
3’4
75
?6—80
q
[(-1
r.
:im
a
r
a
5'3
Encounter
1
phase
spider
1d6
harpies
1
ettercap
or
1d8
+
1
orcs
1
goblin
boss
with
2d6
+
1
goblins
1
ankheg
1
giant
constrictor
snake
1d4
bugbears
or
2d4
hobgoblins
1
pegasus
A
stream
of
cool,
clean
water
flowing
between
the
trees
1d4
half-ogres
or
1
ogre
1
faerie
dragon
(green
or
older)
1
werewolfor
1d8
+
1
worgs
1
druid
harvesting
mistletoe
1
will-o’-wisp
1d4
dire
wolves
or
1
giant
boar
1d10
giant
wasps
1
owlbear
or
1
giant
elk
2d6
gnolls
1d6
giant
toads
1d6
web
cocoons
hanging
from
the
branches,
hold-
ing
withered
carcasses
I
[1
ii
,‘u'
('_:
{"1
i'x'
_‘-.'1
.‘~.
.‘wi
'1‘.
i=1
'
‘~
if
.73
1'.
,3
1...“?
d100
81
82
83
84
85
86
87
88
89
9O
91
92
93
94
95
96
97
98
99
00
Encounter
1
wereboar
or
1d4
giant
boars
1d6
+
2
giant
spiders
1d4
centaurs
or
1d4
giant
elk
1
orc
Eye
ofGruumsh
with
2d4
+
2
orcs
1
gnoll
fang
oeenoghu
1d4
gricks
1
bandit
captain
with
2d6
+
3
bandits
1d4
wererats
1
couatl
(day)
or
1
banshee
(night)
1
gnoll
pack
lord
with
1d4
giant
hyenas
2d4
berserkers
or
1d4
veterans
1
lizardfolk
shaman
with
1d3
swarms
of
poisonous
snakes
and
1d10
+
2
lizardfolk
1d4
displacer
beasts
1d3
green
hags
1
hobgoblin
captain
with
2d6
hobgoblins
and
1d4
giant
boars
1
yuan-ti
malison
with
1d6
+
1
yuan-ti
purebloods
1d3
weretigers
1
gorgon
or1
unicorn
1
shambling
mound
1
yuan-ti
abomination
FOREST
ENCOUNTERS
(LEVELs
5—10)
d100
Encounter
U1
2d4
vine
blights
02
2d6
hobgoblins
or
2d6
orcs
03
2d4
apes
or
2d4
satyrs
04
1d3
will-o'-wisps
05
1d4
swarms
of
poisonous
snakes
06
1
orc
Eye
ofGruumsh
with
1d3
orogs
and
1d8
+
2
orcs
0?
1d3
constrictor
snakes
or
1d4
tigers
08
1
goblin
boss
with
3d6
goblins
09
1
faerie
dragon
(any
age)
10
1
brown
bear
or
1d6
+
2
black
bears
11—13
1d4
giant
boars
14—15
1d8
+
1
giant
spiders
16—17
1
lizardfolk
shaman
with
2d4
lizardfolk
18
1d10
giant
toads
19
1d4
ankhegs
20
1d3
awakened
trees
(day)
or
1
banshee
(night)
21—25
A
small
shack
almost
hidden
by
the
deep
forest.
The
interior
is
empty
aside
from
a
large
cast-iron
oven.
26
1
couatl
27—28
1d4
ogres
or
1d6
+
2
half-ogres
29—30
1
gnoll
pack
lord
with
1d4
+
1
giant
hyenas
31—32
1d6
wererats
33
1d4
gricks
34
1d8
+
1
yuan-ti
purebloods
35
1d6
pegasi
36—40
An
old
stone
archway
ofobvious
elven
design.
Any
character
who
passes
under
it
makes
Wisdom
(Per-
ception)
checks
with
advantage
for
1
hour.
41—42
1d6
+
2
dryads
43
1d4
giant
elk
44
1d8
+
1
harpies
45—46
1
bandit
captain
with
1
druid
and
1d6
+
5
bandits
42—48
2d4
dire
wolves
49—50
2d4
bugbears
51—52
2d4
centaurs
53—54
3d10
blink
dogs
55—56
1d4
owibears
511—58
1d8
+
1
berserkers
59—60
1d3
green
hags
61—65
A
clear
pool
ofwater
with
1d6
sleeping
animals
lying
around
its
edge
66—6?
1d4
werewolves
68—69
1
werebear
70—71
1d8
+
1
ettercaps
72—?3
2d10
elk
14—75
1d4
veterans
76—80
An
old
tree
with
a
wizened
face
carved
into
the
trunk
81
1d4
wereboars
d100
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
00
FOREST
d100
01—03
04—05
06—07
08-10
11—15
16-20
21—25
26—30
31—35
36—40
41—45
46—50
51—52
53—54
55—56
57—58
59—60
61—65
66—67
68—69
70—71
72—73
74—75
76-80
81—82
83—84
Encounter
2d4
displacer
beasts
1d4
shambling
mounds
1
hobgoblin
captain
with
3d10
hobgoblins
and
4d12
gobfins
1
yuan-ti
abomination
1d8
+
1
phase
spiders
1d4
trolls
2d4
yuan-ti
malisons
1
oni
1d4
unicorns
1d6
+
2
weretigers
1
young
green
dragon
1d4
gorgons
1d6
+
2
gnoll
fangs
oeenoghu
1
treant
1d4
revenants
1
grick
alpha
with
1d6
+
1
gricks
1d4
giant
apes
1
guardian
naga
1
adult
gold
dragon
ENCOUNTERS
(LEVELS
11—16)
Encounter
1
werebear
1d4
druids
performing
a
ritual
for
the
dead
(day
only)
or
1d4
banshees
(night
only)
1d3
couatls
1d3
gnoll
fangs
oeenoghu
with
2d6
+
3
gnolls
2d4
displacer
beasts
1d6
+
2
veterans
A
pool
ofclear,
still
water.
Cold
coins
litter
the
bot-
tom,
but
they
disappear
if
removed
from
the
pool.
1d4
+
1
green
hags
with
1d3
owibears
1d6
+
2
werewolves
A
small
woodland
shrine
dedicated
to
a
mysterious
cult
named
the
Siswa
1d6
+
2
phase
spiders
2d4
yuan-ti
malisons
1d3
werebears
1d4
revenants
1
young
green
dragon
1d4
trolls
1d6
+
2
wereboars
A
group
of
seven
people
(commoners)
wearing
ani—
mal
masks
and
ambling
through
the
woods
1d4
gorgons
1d3
shambling
mounds
1
treant
1d4
unicorns
1d6
+
2
weretigers
Peals
ofsilvery
laughter
that
echo
from
a
distance
1
guardian
naga
1
young
gold
dragon
' '
E1
i_‘,"~{f_'.-
EVUT‘J
hi
-"-.I‘4
i
]_.l-L‘."~.
Tfil
life
.'
51:]
I
d100
Encounter
85—86
1
grick
alpha
with
2d4
gricks
83—88
1d3
yuan-ti
abominations
89—90
1
adult
green
dragon
91—93
1d8
+
1
giant
apes
94—96
2d4
oni
97—99
1d3
treants
00
1
ancient
green
dragon
FOREST
ENCOUNTERS
(LEVELS
17—20)
d100
Encounter
01-05
1
young
green
dragon
06—10
1
treant
11—13
1
guardian
naga
14—16
1d10
revenants
17—19
1d8
+1
unicorns
20—22
1d3
grick
alphas
23—25
For
a
few
hundred
feet,
wherever
the
characters
step.
flowers
bloom
and
emit
soft
light.
26—28
1
young
gold
dragon
29—31
1d6
+
2
shambling
mounds
32—34
2d4
werebears
35—37
1d4
oni
38—40
4d6
+10
elves
living
in
a
small
community
in
the
treetops
41——43
1d6
+
2
gorgons
44—46
2d4
trolls
47~49
1d4
giant
apes
50—52
1d3
yuan-ti
abominations
53—62
1d3
young
green
dragons
63—65
A
50-foot-tall
stone
statue
ofan
elfwarrior
with
hand
raised,
palm
out,
as
ifto
forbid
travelers
from
coming
this
way
66—75
1d4
treants
76—80
A
cairn
set
atop
a
low
hill
81—90
1
adult
gold
dragon
91—96
1
ancient
green
dragon
97—99
2d4
+
1
treants
00
1
ancient
gold
dragon
GRASSLAND
ENCOUNTERS
(LEVELs1—5)
d100
Encounter
01
1
hobgoblin
captain
with
1d4
+
1
hobgoblins
02
1
chimera
03
1
gorgon
04
1d2
couatls
OS
1
ankylosaurus
06
1
weretiger
07
1d3
allosauruses
03—09
1d3
elephants
iii-i
.—\
ii'l
1C
3-2
2")
iiij
T‘Jt}
lat-.13.;
.‘ki
‘a
ié'i'i;
ii
‘
E'-
T
(ii
I1“:
1.3%
d1oo
10-14
15~16
17~13
19—20
21—22
23—24
25—28
29—32
33—36
37—40
41—44
45—46
47—43
49—50
51—52
53—54
55—58
59—62
63—65
66—69
70—74
75—76
77—73
79—80
81—82
83—84
85—89
90—91
92—93
94
95—96
97
98-99
00
d100
01
02
03—04
05—06
07—09
10—11
12—13
14—15
16—17
18—19
Encounter
A
circle
of
standing
stones
within
which
the
air
is
utterly
still,
no
matter
how
hard
the
wind
blows
outside
1
phase
spider
1
gnoll
pack
lord
with
1d4
giant
hyenas
1
orog
or
1
pegasus
1
ankheg
1d3
rhinoceroses
1d3
cockatrices
1d6
+
2
giant
wasps
or
1d4
+
3
swarms
ofinsects
1d4
jackalweres
or
1d4
scouts
1d8
giant
goats
or
1d8
worgs
2d4
hobgoblins,
2d4
orcs.
or
2d4
gnolls
1d2
giant
poisonous
snakes
1d6
+
2
elk
or
1d6
+
2
riding
horses
2d4
goblins
1d3
boars
1
panther
(leopard)
or
1
lion
1d6
+
3
goblins
riding
wolves
2d6
giant
wolfspiders
or
1
giant
eagle
1d8
+
4
pteranodons
3d6
wolves
2d4
+
2
axe
beaks
1
giant
boar
or
1d2
tigers
1
ogre
or
1d3
bugbears
1
giant
elk,
or
1
gnoll
pack
lord
with
1d3
giant
hyenas
1d3
giant
vultures
or
1d3
hippogriffs
1
goblin
boss
with
1d6
+
2
goblins
and
1d4
+
3
wolves,
or
1d3
thri-kreen
1d3
druids
patrolling
the
wilds
1d6
scarecrows
or
1
wereboar
1d3
centaurs
or
1d3
griffons
1d3
gnoll
fangs
oeenoghu,
or
1
orc
Eye
of
Gruumsh
with
2d4
+
1
orcs
1
triceratops
1
cyclops
or
1
bulette
1d4
manticores
1
tyrannosaurus
rex
CRASSLAND
ENCOUNTERS
(LEVELS
6—10)
Encounter
1d3
gorgons
1d4
cyclopes
1d3
gnoll
fangs
oeenoghu
1
chimera
1d4
+
1
veterans
on
riding
horses
A
tornado
that
touches
down
1d6
miles
away,
tear—
ing
up
the
land
for
1
mile
before
it
dissipates
1d3
manticores
2d4
ankhegs
1d8
+
1
centaurs
1d6
+
2
griffons
d100
20—21
22—24
25-23
29—32
33—36
3?—40
41—44
45—46
47—48
49—50
51—52
53—54
55—53
59—62
63—66
6?—?0
71—74
75—?6
??—?8
79—30
31—82
83—34
85—87
38—90
91—92
93-94
95—96
97
93—99
00
Encounter
1d6
elephants
A
stretch
oFland
littered
with
rotting
war
ma-
chines,
bones,
and
banners
oFForgotten
armies
1d8
+
1
bugbears
1
gnoll
pack
lord
with
1d4
+
1
giant
hyenas
2d4
scarecrows
1d12
lions
1d10
thri-kreen
1
allosaurus
1
tiger
1d2
giant
eagles
or
1d2
giant
vultures
1
goblin
boss
with
2d4
goblins
1d2
pegasi
1
ankylosaurus
1d2
couatls
1
orc
Eye
oFGruumsh
with
1d8
+
1
orcs
2d4
hippogriFFs
1d4
+
1
rhinoceroses
1
hobgoblin
captain
with
2d6
hobgoblins
1d3
phase
spiders
1d6
+
2
giant
boars
2d4
giant
elk
1d4
ogres
and
1d4
orogs
A
hot
wind
that
carries
the
stench
of
rot
1d3
weretigers
1
bulette
A
tribe
oF
2d20
+
20
nomads
(tribal
warriors)
on
riding
horses
Following
a
herd
oFantelope
(deer).
The
nomads
are
willing
to
trade
Food,
leather,
and
inFormation
For
weapons.
1d6
+
2
wereboars
1
young
gold
dragon
1d4
triceratops
1d3
tyrannosaurus
rexes
GRASSLAND
ENCOUNTERS
(LEVELs11—16)
d100
01—05
06—10
11—15
16—1?
18—27
28—30
31—40
41—46
47—56
5?—61
62—66
6?—69
Encounter
3d6
wereboars
2d10
gnoll
Fangs
oFYeenoghu
1d4
bulettes
An
old
road
oF
paved
stones,
partly
reclaimed
by
wilderness,
that
travels
For
1d8
miles
in
either
di-
rection
beFore
ending
1d12
couatls
A
witch
(mage)
dwelling
in
a
crude
hut.
She
oFFers
potions
ofhenling,
antitoxins,
and
other
consum-
able
items
For
sale
in
exchange
For
Food
and
news.
2d10
elephants
2d4
weretigers
1d8
+
1
cyclopes
1d3
chimeras
5
triceratops
A
giant
hole
50
Feet
across
that
descends
nearly
500
Feet
before
opening
into
an
empty
cave
d100
70—79
80—88
89—90
91—96
97_99
00
Encounter
1d4
+
3
gorgons
1d3
young
gold
dragons
A
circular
section
oFgrass
nearly
a
quarter-mile
across
that
appears
to
have
been
pressed
down;
1d4
more
such
circles
connected
by
lines
can
be
seen
From
overhead.
2d4
tyrannosaurus
rexes
1
adult
gold
dragon
1
ancient
gold
dragon
GRASSLAND
ENCOUNTERS
(LEVELS
17—20)
d100
01—10
11—20
21—25
26—35
36—40
41—50
51—60
61—65
66—75
76—80
81—90
91—96
97—99
00
Encounter
2d6
triceratops
1d10
gorgons
2d6
hyenas
Feeding
on
the
carcass
oFa
dead
dinosaur
3d6
bulettes
A
fiery
chariot
that
races
across
the
sky
1d3
young
gold
dragons
2d4
cyclopes
A
valley
where
all
the
grass
has
died
and
the
ground
is
littered
with
stumps
and
Fallen
tree
trunks,
all
petrified
2d10
bugbears
with
4d6
goblins
and
2d10
wolves
A
Friendly
adventuring
party
oF1d6
+1
characters
oarying
races,
classes,
and
levels
(average
level
1d6
+
2).
They
share
inFormation
about
their
recent
travels.
1d12
chimeras
1d6
+
2
tyrannosaurus
rexes
1
adult
gold
dragon
1
ancient
gold
dragon
HILL
ENCOUNTERS
(LEVELS1—4)
d100
01
02—03
04—06
07
03
09
10
11—13
14
15
16
17—18
19*20
21—22
Encounter
1
eagle
2d4
baboons
1d6
bandits
1d4
vultures
1d10
commoners
1
raven
1
poisonous
snake
2d6
bandits
or
2d6
tribal
warriors
2d8
goats
1d6
+
4
blood
hawks
1d4
+
3
giant
weasels
1d3
guards
with
1d2
mastifl's
and
1
mule
1d6
+
5
hyenas
2d4
stirges
1.2
l
l
.-\.1‘*1"::
13
'Z.‘
i
t)
L"
i":
f
Ir
[1.11.1
ll
.‘1'-'-'Ti;
[-53%
1'1
11‘
1L};
L
....1.-.-
_..L
'
“FIRE-
i."
'l“__
,‘::'.l'-:'.
-.
"7m.
-; '
'.
d'lOO
23225
26
27
28-30
31
32—34
35
36
37
38—40
41
42
43
44—45
46
47
43—49
50
51
52—53
54
55
56
5?—53
59
60
61—63
64
65—66
67—63
69—70
71
72
?3—74
75
76—78
79
80
81
82
83
84
85-86
87—38
89
90
91—96
97—99
00
’
7'
:
1:11
i'
i";
l'
,1
EC
(:1
N
.‘n‘
'
Encounter
An
empty
cave
littered
with
bones
1
pseudodragon
or
1d3
giant
owls
1
lion
or
1
panther
(cougar)
2d8
kobolds
1
hippogrifi'
2d4
goblins
1
worg
1d3
swarms
of
bats
or
1d3
swarms
of
ravens
1
giant
eagle
An
old
dwarf
sitting
on
a
stump,
whittling
a
piece
of
wood
1d4
elk
1d4
winged
kobolds
with
1d6
kobolds
1d6
+
2
giant
wolfspiders
2d4
wolves
1
swarm
of
insects
1d8
+
1
axe
beaks
1
brown
bear
or
1d3
boars
1
scout
1
ogre
2d4
gnolls
1
giant
elk
1d3
+
1
harpies
1
werewolf
2d4
orcs
1d4
half-ogres
1
druid
or1
veteran
The
corpse
of
an
adventurer
that
carries
an
intact
explorer’s
pack
and
lies
atop
a
longsword
1
green
hag
1d3
dire
wolves
A
small
cemetery
containing
2d6
graves
1
hobgoblin
captain
with
2d4
hobgoblins
2d4
giant
goats
1
manticore
1d6
+
2
hobgoblins
1
phase
spider
A
pile
ofdroppings
from
a
very
large
bird
1
gnoll
fang
oeenoghu
1d3
giant
boars
1
gnoll
pack
lord
with
1d3
giant
hyenas
1
bandit
captain
with
2d4
bandits
1
orc
Eye
ofGruumsh
with
1d8
+
2
orcs
1d3
orogs
or
1d4
berserkers
1
ettin
or
1
wereboar
1
goblin
boss
with
2d6
goblins
1d3
grifi'ons
1d3
perytons
or
1d4
pegasi
1d3
trolls
1
cyclops
1
stone
giant
HILL
ENCOUNTERS
(LEVELS
5—10)
d100
01
02
03
O4
05
06
07
O8
09
10
11—12
13
14—15
16—17
18—19
20
21—25
26—27
28—29
30—31
32—33
34—35
36—40
41—42
43—44
45—46
47—43
49—50
51—54
55—53
59—62
63—65
66—69
70—73
74—77
78—80
31—32
83—84
85—86
87—88
89—90
91—93
94—96
97—93
99
00
Encounter
1d4
pegasi
or
1d3
perytons
1d6
+
2
giant
goats
1
manticore
1d8
+1
gnolls
or
1d8
+1
hobgoblins
1d4
lions
1d6
+
2
worgs
1d4
brown
bears
3d6
axe
beaks
1
half-ogre
with
2d6
orcs
2d10
winged
kobolds
1
goblin
boss
with
1d4
dire
wolves
and
2d6
goblins
1d6
giant
elk
1d8
+
1
giant
eagles
1d4
phase
spiders
1
gnoll
pack
lord
with
2d4
giant
hyenas
2d4
hippogris
A
15-foot-tall
stone
statue
ota
dwarfwarrior
that
has
been
tipped
over
on
its
side
2d4
orogs
1d4
+
1
griffons
1d6
+
2
harpies
1
orc
Eye
ofGruumsh
with
2d6
+
3
orcs
1d4
+
3
giant
boars
A
stone
door
set
into
the
side
ofa
steep
hill,
open-
ing
onto
15
feet
ofdescending
stairs
that
end
at
a
cave-in
1d3
green
hags
1d4
werewolves
1d6
+
2
ogres
1
hobgoblin
captain
with
2d8
hobgoblins
1
bandit
captain
with
3d6
bandits
1
chimera
1d4
ettins
1d6
+
2
veterans
with
2d6
berserkers
An
abandoned
wooden
hut
1
galeb
duhr
1
bulette
1
wyvern
2d6
+
10
goats
with
1
herder
(tribal
warrior)
1d3
hill
giants
2d4
wereboars
1d4
revenants
1d2
gorgons
1d8
+
1
gnoll
fangs
of'Yeenoghu
1d4
cyclopes
1
young
red
dragon
1d4
stone
giants
1d3
young
copper
dragons
1
roc
d100
01
|
02—04
05—0?
03—10
11—14
15—13
19—22
23—24
25-23
29—32
l
33—36
3?—33
|
39—42
43—46
4r~50
51—54
55—53
59—52
53—55
l
66—69
70—73
74—7?
HILL
ENCOUNTERS
(LEVELS
11—16)
Encounter
2d8
manticores
or
2d3
phase
spiders
1d6
green
bags
with
1d6
wyverns
l
hobgoblin
captain
with
1
hill
giant
and
4d10
hobgobfins
2d6
+
3
werewolves
id6
+
2
ettins
id3
bulettes
ld4
werebears
A
stream
otsmoke
emerging
from
a
small
chimney
in
the
hillside
1d4
wyverns
ld8
+
l
wereboars
ld3
revenants
A
mild
earthquake
that
shakes
the
region
for
lO
seconds
ld3
chimeras
ld4
gorgons
id6
+
2
gnoll
fangs
oeenoghu
'ld4
hill
giants
1
young
red
dragon
ld3
+1
galeb
duhr
2d10
dwarfminers
(commoners),
whistling
as
they
march
toward
their
mine
ld3
young
copper
dragons
ld4
trolls
ld3
cyclopes
d100
78—80
81—85
86—90
91—96
97~99
00
Encounter
ld3
nobles
with
M4
scouts
prospecting
for
gold
1
adult
copper
dragon
2d4
stone
giants
1d4
recs
1
adult
red
dragon
1
ancient
copper
dragon
HILL
ENCOUNTERS
(LEVELS
17—20)
d100
01
02—05
06—10
11—15
16—20
21—25
26—30
31—35
36—40
41—45
46—50
51—55
56—60
61—65
Encounter
ld2
rocs
1
young
red
dragon
2d6
ettins
ld4
bulettes
ldiO
revenants
The
white
outline
ofan
enormous
horse
carved
into
the
side
ofa
high
hill
id6
+
l
gorgons
2d4
+
l
trolls
The
scorched
remains
01‘2l
humanoids
littering
a
hillside
2d4
hill
giants
ld6
+
2
werebears
2d4
galeb
duhr
ld4
+
2
wyverns
A
massive
boulder
partly
buried
in
the
earth
as
ifit
fell
or
was
thrown
there
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d100
Encounter
66—70
1
adult
copper
dragon
71—75
1d6
+
3
cyclopes
76—80
The
stub
of
an
old
stone
tower
jutting
from
the
top
ofa
hill
81—85
2d4
stone
giants
86—90
1
adult
red
dragon
91
—96
1
ancient
copper
dragon
97—99
1
ancient
red
dragon
00
1d2
adult
red
dragons
with
1d3
young
red
dragons
MOUNTAIN
ENCOUNTERS
(LEVELS
1—4)
d100
Encou
nter
01—02
1
eagle
03—05
1d3
swarms
ofbats
06—08
1d6
goats
09—11
1d10
+
5
tribal
warriors
12—14
1d6
+
3
pteranodons
15—17
1d8
+1
winged
kobolds
18—20
1
lion
21—24
Stairs
chiseled
into
the
side
of
the
mountain
that
climb
3d20
+
40
feet
before
ending
abruptly
25—27
2d10
stirges
28-30
2d4
aarakocra
31—»33
2d6
dwarfsoldiers
(guards)
with
1d6
mules
laden
with
iron
ore
34-36
1
giant
eagle
37—38
A
small
shrine
dedicated
to
a
lawful
neutral
god,
perched
on
a
stone
outcropping
39—41
2d8
+
1
blood
hawks
42-44
1
giant
goat
45-47
3d4
kobolds
48—50
1
half-ogre
51—53
1
berserker
54—55
1
orog
56
1
hell
hound
57
1
druid
58—59
1
peryton
60~61
1d2
hippogrifis
62
1
manticore
63—64
1d6
+
2
scouts
65—67
Enormous
footprints
left
by
a
giant,
which
head
into
the
mountain
peaks
68—73
2d4
orcs
74—75
1
giant
elk
76—77
1
veteran
78—79
1
orc
Eye
ofGruumsh
80
1d4
harpies
81
1
ogre
82
1
griffon
83
1
basilisk
1'1-1-11‘1‘1
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11.1:
d'IOO
84—85
86—90
91
92
93
94
95
96
97
98
99
00
Encounter
1
saber—toothed
tiger
A
sparkling
stream
ofwater
spilling
from
a
crevice
1d2
ettins
1
cyclops
1
troll
1
galeb
duhr
1
air
elemental
1
bulette
1
chimera
1
wyvern
1
stone
giant
1
frost
giant
MOUNTAIN
ENCOUNTERS
(LEVELS
5—10)
d100
01—02
03—04
05—06
07—08
09—10
11—15
16—20
21—25
26—30
31—35
36—40
41—45
46—50
51‘52
53e54
55—56
57—58
59—60
61—65
66—69
70~73
74—75
76—80
81—83
84—85
86—87
88—90
91~92
93~94
95—96
97
98
99
DO
Encounter
2d8
+
1
aarakocra
1
lion
or
1
saber-toothed
tiger
1d8
+
1
giant
goats
1d4
+
3
dwarftrailblazers
(scouts)
1d6
+
2
orcs
1d10
giant
eagles
1d8
+
1
hippogriffs
1d8
fissures
venting
steam
that
partially
obscures
a
20-foot
cube
above
each
fissure
1
basilisk
1d12
half-ogres
A
ravine
blocked
by
a
100-foot-high
wall,
which
has
an
opening
in
the
center
where
a
gate
used
to
be
1
manticore
2d4
harpies
1
galeb
duhr
1
bulette
1d10
berserkers
1d3
hell
hounds
1d8
+
1
veterans
A
distant
mountain
whose
peak
resembles
a
tooth
1d4
ettins
1
wyvern
1
orc
Eye
ofGruumsh
with
1d6
orogs
and
3d6
+
10
orcs
A
row
of1d10
+
40
stakes
upon
which
the
bodies
of
kobolds,
dwarves,
or
orcs
are
impaled
1
fire
giant
1
young
silver
dragon
1d4
air
elementals
1d4
trolls
1d3
+1
cyclopes
1d4
chimeras
1
cloud
giant
1
roc
1d4
stone
giants
1
young
red
dragon
1d4
frost
giants
MOUNTAIN
ENCOUNTERS
(LEVELs
11—16)
d100
Encounter
01—02
1d8
+
1
basilisks
03—04
2d4
hell
hounds
05—06
1d3
chimeras
07—03
1
galeb
duhr
09—10
2d6
veterans
11—1
5
1
young
silver
dragon
16—20
2d4
trolls
21-25
1
red
dragon
gliding
through
the
sky
above
the
highest
mountaintops
26—30
1d8
+
1
manticores
31—35
1d4
cyclopes
36—40
Heavy
snowfall
that
lasts
for
1d6
hours
41—45
1d10
air
elementals
46—50
1d6
+
2
bulettes
51—55
1d4
stone
giants
56—60
1
fire
giant
61—65
2
stone
giants
playing
catch
with
a
boulder
a
few
hundred
feet
away
66—70
1013
+
1
ettins
71—75
1d3
frost
giants
76—30
A
wide
crevasse,
its
depths
shrouded
in
mist
81—35
1d4
cloud
giants
36—90
1
adult
silver
dragon
91—96
1
adult
red
dragon
97—93
1d4
rocs
99
1
ancient
silver
dragon
00
1
ancient
red
dragon
MOUNTAIN
ENCOUNTERS
(LEVELS
17—20)
£1100
Encou
nter
01—05
1d10
bulettes
06—10
1:18
+1
chimeras
11—15
1
adult
silver
dragon
16—20
1d8
+
1
wyverns
21—25
A
massive
boat
perched
atop
a
mountain
26—30
2d4
galeb
duhr
31-35
1d4
frost
giants
36—40
A
wooded
valley
haunted
by
secretive
and
reclusive
elves
who
tell
warily
oftheir
master:
a
mad
wizard
who
lives
in
the
heart
ofthe
valley
41—45
1d10
air
elementals
46—50
1d6
+
3
trolls
51—55
1
adult
red
dragon
56—60
1d4
cloud
giants
61-65
A
waterfall
hundreds
offeet
high
that
drops
into
a
clear
pool
66—70
1d3
fire
giants
71—75
2d4
stone
giants
76—30
A
force
of100
dwarves
(veterans)
standing
guard
at
a
mountain
pass,
permitting
no
passage
until
a
traveler
pays
100
gp
(ifon
foot)
or
200
gp
(if
mounted)
(1100
31—35
86—90
91—96
97—00
SWAMP
ENCOUNTERS
(LEVEL51—4)
d100
01
02—05
06—10
11-12
13
14—15
16—17
18-19
20
21—22
23-25
26
27—29
30
31—32
33—34
35—38
39—41
42—44
45
46—48
49—52
53-54
55—56
57
58-59
60-62
63-64
65—67
68—69
70—71
72
73
74—75
76—77
78—80
81—83
84—86
Encounter
1d4
rocs
1d4
young
red
dragons
1
ancient
silver
dragon
1
ancient
red
dragon
Encounter
1d4
poisonous
snakes
3d6
rats
2d8
ravens
3d6
giant
rats
1d10
+
5
tribal
warriors
1d8
+
1
giant
lizards
1
crocodile
i
.
1
swarm
of
insects
1
1
giant
spider
;
1d4
+1
mud
huts
partially
sunken
in
murky
water
2d8
+
1
kobolds
2d4
mud
mephits
1d6
+
2
giant
poisonous
snakes
2d4
winged
kobolds
1
scout
:
The
corpse
ofan
adventurer
tangled
in
the
weeds.
Looting
the
body
turns
up
an
explorer's
pack
and
perhaps
(50%
chance)
a
random
common
magic
item.
1
giant
toad
1d6
+
2
constrictor
snakes
2d4
giant
frogs
1d8
+
1
swarms
ofrats
or
1d6
+
2
swarms
ofravens
2d10
stirges
2d6
+
3
bullywugs
1d8
+
1
orcs
1d4
yuan-ti
purebloods
1
druid
1
yuan-ti
malison
1
giant
constrictor
snake
A
high-pitched
shriek
that
lasts
for
1d4
minutes
2d4
lizardfolk
1d4
ghouls
1
will-o’-wisp
1
wight
1
ghast
1
swarm
of
poisonous
snakes
A
foul
stench
bubbling
up
from
brackish
waters
1d4
+
2
ogres
1
shambling
mound
1
lizardfolk
shaman
with
1d6
giant
lizards
and
2d10
lizardfolk
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“five.
Laugh...
d100
Encounter
87
1
troll
88—89
1d4
green
hags
90—91
1
revenant
92—93
1
giant
crocodile
94—95
1
orc
Eye
ofGruumsh
with
1d3
orogs
and
2d6
+
3
orcs
96—97
1
young
black
dragon
98
1
yuan-ti
abomination
99
1d4
water
elementals
00
1
hydra
SWAMP
ENCOUNTERS
(LEVELS
5—10)
d100
01
1
green
hag
Encounter
02—03
2d4
giant
lizards
or
2d4
giant
poisonous
snakes
04—05
2d8
winged
kobolds
06—07
1d10
+
1
bullywugs
with
1d8
+
1
giant
frogs
08—09
1
druid
10
1d8
+
1
swarms
ofinsects
11—13
1d12
ghouls
14—16
2d8
scouts
17—19
2d10
orcs
20—22
2d4
giant
spiders
23—24
Tainted
water
that
exposes
creatures
that
move
through
it
to
sight
rot
(see
“Diseases"
in
chapter
8
ofthe
Dungeon
Master’s
Guide)
25—27
1d6
+
2
giant
toads
28—30
3d6
lizardfolk
31—33
1d8
+
1
yuan-ti
purebloods
34—36
1d4
+
1
swarms
of
poisonous
snakes
32—38
A
bloated
humanoid
corpse
floating
facedown
in
the
water
39—41
1
shambling
mound
42—44
1d4
+
1
will-o’-wisps
45—47
2d6
crocodiles
48—50
1d4
+
1
giant
constrictor
snakes
51—54
1
lizardfolk
shaman
with
1d3
swarms
of
poisonous
snakes
and
1d8
+
2
lizardfolk
55—58
1d8
+
1
ogres
59—62
2d4
ghasts
63—65
An
altar
partially
sunk
into
the
mud,
devoted
to
a
god
that
is
part
human
and
part
frog
66-69
1
giant
crocodile
70—73
1
shambling
mound
74—77
1
orc
Eye
ofGruumsh
with
1d3
ogres
and
2d10
+
5
orcs
78—80
A
torrential
rain
that
lasts
1d6
minutes
and
puts
out
all
unprotected
flames
within
1
mile
81—82
1
young
black
dragon
83-84
1d4
green
bags
with
1d6
+1
ogres
85—86
1
yuan-ti
abomination
8?—88
1d4
+
1
wights
i)
l.
‘
i‘w.‘
'C
L-
i'
("L1
'«i
"if.“{l'
l;
11'
h
1‘71
0
L14
d100
89-90
91—93
94—96
97—99
00
Encounter
1d6
+
1
yuan-ti
malisons
1d4
+
1
trolls
1d10
revenants
1d8
+
1
water
elementals
1d3
hydras
SWAMP
ENCOUNTERS
(LEVELS
11—20)
d100
01—10
11—15
16—20
21—25
26-30
31—35
36—40
41_45
46—50
51—55
56—60
61—65
66—70
71—75
76—80
81—96
97—00
Encounter
1d4
giant
crocodiles
1d3
yuan-ti
abominations
1d6
+1
green
hags
A
large,
spreading
tree
from
which
2d6
armored
knights
hang
by
the
neck
2d4
wights
1d8
+
1
yuan-ti
malisons
Fog
that
rolls
across
the
terrain,
making
the
area
within
1d3
miles
heavily
obscured
for
1d4
hours
1d4
revenants
1d6
shambling
mounds
1d10
water
elementals
1d4
young
black
dragons
An
eerie,
bat-headed
idol
almost
completely
cov-
ered
by
vines
1d8
+
2
trolls
1d3
hydras
The
sound
ofdrums
beating
several
miles
away
1
adult
black
dragon
1
ancient
black
dragon
UNDERDARK
ENCOUNTERS
(LEVELS
1—4)
d100
01
02
03
04
05
06
07
08
09
10
11—12
13—14
15—16
17—18
19—20
21—22
Encounter
1
mind
flayer
arcanist
1d3
+
1
giant
poisonous
snakes
1d3
giant
lizards
2d4
giant
fire
beetles
1d8
+
1
flumphs
1
shrieker
1d12
giant
rats
2d4
kobolds
1d8
+1
stirges
2d4
humans
(tribal
warriors)
seeking
the
way
to
the
surface,
fleeing
their
Underdark
oppressors
1d10
troglodytes
1d2
gray
oozes
3d6
stirges
1d3
magma
mephits
1d10
goblins
Orc
graffiti
on
the
walls,
suggesting
something
rude
about
the
mother
of
someone
named
|<rusk
d100
23—24
25
26—28
29—30
31~32
33
34—35
36—37
33—39
40—41
42—43
44
45
46
47
43
49
50
51
52
53
54
55
56
57
53
59
60
61
62
63
64
65
66
67—63
69
70
71
72
73
74
75
76
77
73
79—30
81
82
83
84
Encounter
1
swarm
of
insects
1
deep
gnome
1d8
+
1
drow
1d4
violet
fungi
1d12
kuo-toa
1
rust
monster
A
rubble—strewn
passage
that
appears
to
have
been
recently
cleared
after
a
cave-in
1d8
+
1
giant
bats
3d6
kobolds
2d4
grimlocks
1d4
+
3
swarms
of
bets
1
dwarf
prospector
(scout)
looking
for
gold
1
carrion
crawler
or
1
gelatinous
cube
1d8
darkmantles
or
2d4
piercers
1
hell
hound
1d3
specters
1d4
bugbears
1d10
+
5
winged
kobolds
1d4
fire
snakes
2d8
+
1
troglodytes
1d6
giant
spiders
3d6
kuo-toa
1
goblin
boss
with
2d4
goblins
4d4
grimlocks
1
ochre
jelly
2d10
giant
centipedes
1
nothic
or
1
giant
toad
1d4
myconid
adults
with
5d4
myconid
sprouts
1
minotaur
skeleton
or
1
minotaur
3d6
drow
1
mimic
or1
doppelganger
1d6
+
3
hobgoblins
1
intellect
devourer
or
1
spectator
1d8
+
1
orcs
A
faint
tapping
coming
from
inside
a
nearby
wall
1
gibbering
mouther
or
1
water
weird
1d12
gas
spores
1
giant
constrictor
snake
1d10
shadows
1d3
grells
1d4
wights
1d8
+
1
quaggoth
spore
servants
1d2
gargoyles
1d4
ogres
or
1d3
ettins
1d4
dwarf
explorers
(veterans)
An
abandoned
miners'
camp
spattered
with
blood
and
littered
with
the
contents
of1d3
dungeoneer’s
packs
1
chuul
or1
salamander
1d4
phase
spiders
or
1d3
hook
horrors
Sd4
duergar
1
ghost
or
1
flameskull
or
1
wraith
d100
85
86
87
88
89
9O
91
92
93—395
96
97
98
99
00
Encounter
1
druid
with
1
polar
bear
(cave
bear}
1
hobgoblin
captain
with
1d4
half-ogres
and
2d10
hobgoas
1
earth
elemental
or
1
black
pudding
1
kuo—toa
monitor
with
1d8
+
1
kuo-toa
whips
1
quaggoth
thonot
with
1d3
quaggoths
1
beholder
zombie
or
1
bone
naga
1
orc
Eye
ofGruumsh
with
1d4
orogs
and
2d8
orcs
1d4
ghasts
with
1d10
ghouls
A
reeking
puddle
where
slimy
water
has
dripped
from
the
ceiling
1
otyugh
or
1
roper
1
vampire
spawn
1
chimera
1
mind
flayer
1
spirit
naga
UNDERDARK
ENCOUNTERS
(LEVELS
5—10)
d100
01
02
03
04
05
06
07
08
09
10
11
12
13—14
15
16—17
18
19—20
21—25
26
27
28
29—30
31—32
33—34
35
36—40
41
42—43
44—45
46
47443
49—50
Encounter
3d6
swarms
of
bats
1d4
giant
spiders
or
1d4
giant
toads
1
mimic
2d4
gray
oozes
2d10
orcs
or
3d6
troglodytes
3d6
grimlocks
1d6
+
2
magma
mephits
1
goblin
boss
with
2d4
goblins
2d4
darkmantles
2d8
+
1
drow
2d10
piercers
1d4
minotaur
skeletons
3d6
deep
gnomes
1
druid
with
1
polar
bear
(cave
bear)
3d6
orcs
1
bone
naga
2d6
bugbears
Luminescent
fungi
growing
on
the
walls
ofa
moist
cave,
filling
it
with
dim
light
2d4
specters
1d12
+
4
shadows
1d3
gibbering
mouthers
4d4
hobgoblins
1d4
carrion
crawlers
1
black
pudding
1d4
ochre
jellies
A
patch
of
mold
that
appears
yellow
when
light
is
directed
toward
it
1d4
nothics
2d8
+
1
gas
spores
1d3
gelatinous
cubes
1
ghost
1
flameskull
2d8
duergar
i‘i-i-‘a':"i'i_'ti
1‘:
1.1i_.'.“\'f'1i-‘{,_}i'--.
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Tums
_
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r-v.
I
.'
--—-—
--
-
--_._
_..
x
,7
n"
.1.“
-
,2?!
3:?
t
d100
51
52
53
54
55
56
57
58
59
60
61—62
63
64
65
66
67
68
69
70
71—72
73
74
75
76—77
73
79
30
31
32
33
34
35
36
37
33
39
90
91
92
93
94
95
96
97
93
99
00
Encounter
1
wraith
1
umber
hulk
1
xorn
1d6
+
2
dwarfhunters
(veterans)
searching
for
trolls
1
hobgoblin
captain
with
3d10
hobgoblins
1
roper
1
kuo-toa
monitor
with
1d4
kuo-toa
whips
and
1d8
+
1
kuo-toa
1d3
water
weirds
1d4
ghasts
with
1d10
ghouls
1
otyugh
A
merchant
caravan
consisting
of1
drow
mage,
2
drow
elite
warriors,
and
2d10
quaggoths
1d4
wights
1d4
doppelgangers
2d8
fire
snakes
1d4
spectators
1
orc
Eye
ofGruumsh
with
1d4
orogs
and
2d10
+
3
orcs
1d3
vampire
spawn
1d4
hook
horrors
or
1d4
minotaurs
3d6
quaggoth
spore
servants
1d3
grells
1d6
+
1
intellect
devourers
1d10
gargoyles
1
beholder
zombie
1
quaggoth
thonot
with
2d4
quaggoths
1d6
ettins
or
1d4
trolls
1d8
+
1
phase
spiders
1
fomorian
or
1d3
cyclopes
1d4
earth
elementals
3d6
ogres
1d4
+
1
chuuls
1d10
hell
hounds
1d3
drow
elite
warriors
1d4
chimeras
1d4
salamanders
1
cloaker
2d4
wights
1d4
driders
1
fire
giant
1
grick
alpha
with
2d4
gricks
1
mind
flayer
arcanist
1d4
drow
mages
1
spirit
naga
1d4
mind
flayers
1
behir
1
aboleth
1
dao
or
1
stone
giant
1
beholder
UNDERDARK
ENCOUNTERS
(LEVELS
11—16)
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—25
26—27
28—29
30—31
32—33
34—35
36-40
41—42
43—44
45—46
47—48
49—50
51—52
53-54
55
56
57
58
59
60
61
62
63—65
66
67
68
69
7O
71
72
73
74
75
76—80
81
82
Encounter
3d6
carrion
crawlers
1d6
+
1
gelatinous
cubes
1d8
+
2
gibbering
mouthers
2d8
minotaur
skeletons
2d6
ochre
jellies
2d4
doppelgangers
1d4
quaggoth
thonots
with
1d10
+
2
quaggoths
1d3
ropers
3d6
gargoyles
1d10
mimics
A
100-foot-long
ravine,
4d10
feet
wide
and
5d20
+
200
feet
deep
1
hobgoblin
captain
with
3d10
hobgoblins
2d4
spectators
3d6
ghasts
2d8
intellect
devourers
1d3
orc
Eyes
ofGruumsh
with
2d4
orogs
and
2d10
orcs
A
large
cave
containing
2d10
extraordinarily
de-
tailed
statues
ofvarious
creatures
1d8
+
1
kuo—toa
monitors
2d4
water
weirds
2d1O
gricks
3d6
nothics
2d8
+
1
ogres
1d6
+
2
chuuls
1d8
+
1
ettins
3d6
grells
2d4
flameskulls
2d12
dwarf
soldiers
(veterans)
on
patrol
2d8
hell
hounds
1d10
ghosts
3d4
wights
3d6
phase
spiders
1d8
+1
bone
nagas
A
shrill
scream
followed
by
dark
laughter
1d4
chimeras
1d10
black
puddings
3d6
minotaurs
2d4
otyughs
1d6
+
1
beholder
zombies
4d4
hook
horrors
1d8
+1
umber
hulks
2d4
salamanders
1d3
grick
alphas
1d6
+
2
xorn
A
ruined
village
that
once
belonged
to
deep
gnomes.
A
search
has
a
50%
chance
of
uncovering
1d3
potions
ofheoling
and
a
25%
chance
offinding
a
random
common
magic
item.
2d4
earth
elementals
1d3
spirit
nagas
d100
33
34
85
86
87
38
39
90
91
92
93
94
95
96
97
98
99
00
Encounter
1d3
+
1
cyclopes
1d6
+
2
trolls
2d4
stone
giants
2d4
wraiths
1d4
fomorians
1d3
drow
mages
with
1d4
drow
elite
warriors
1d10
vampire
spawn
1d3
cloakers
1d4
fire
giants
1
mind
flayer
arcanist
with
1d6
+
1
mind
flayers
1d4
dao
1d8
+
1
driders
1d3
behirs
1d4
aboleths
1
beholder
1
young
red
shadow
dragon
1
death
tyrant
1
purple
worm
UNDERDARK
ENCOUNTERS
(LEVELs17—2o)
d100
01
02
03—04
05-06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21
22—23
24—25
26—27
23—30
31—32
33—34
35—36
37—38
39—40
41—43
44—45
46—47
43—49
50—51
52—53
54—56
5?—59
60—62
Encounter
1d4
grick
alphas
2d8
spectators
3d6
minotaurs
or
2d8
kuo-toa
monitors
2d3
grells
2d10
phase
spiders
4d4
hell
hounds
1d6
+
2
ropers
2d10
wights
3d6
doppelgangers
1d8
+
1
chimeras
1d4
cloakers
1d4
hobgoblin
captains
with
5d10
hobgoblins
1d8
+
1
earth
elementals
2d4
vampire
spawn
3d6
minotaurs
A
30-foot-tall
inverted
black
pyramid
floating
1
inch
above
the
floor
in
a
large
cave
1d10
beholder
zombies
1d4
mind
flayer
arcanists
1d6
+
2
otyughs
1d12
trolls
1d10
wraiths
A
beautiful
obsidian
sculpture
ofa
panther
lying
on
the
floor
1d4
drow
mages
with
1d6
drow
elite
warriors
1d4
spirit
nagas
1d8
+
1
salamanders
2d4
umber
hulks
1d10
xorn
1
young
red
shadow
dragon
2d4
fomorians
1d8
+
1
driders
d100
63—65
66—63
69—70
71
—73
74—76
77—30
81—85
86—90
91—93
94—96
97—99
00
Encounter
1d20
+
20
spiders
crawling
on
the
walls
oFa
web-
filled
cave
1d4
fire
giants
1d1O
mind
flayers
2d4
stone
giants
1d12
cyclopes
A
large
cave
in
which
stands
a
50-Foot-tall
idol
of
Blibdoolpoolp
1d3
dao
1d4
beholders
1d4
behirs
1
death
tyrant
1d3
purple
worms
2d4
aboleths
UNDERWATER
ENCOUNTERS
(LEVEL51—4)
d100
01—10
11-14
15-18
19—22
23—25
26—29
30—33
34—37
38—40
41—45
46—50
51—55
56—60
61—65
66-70
71—75
76—80
81-85
86-90
91—96
97—98
99
00
Encounter
3d6
quippers
2d4
steam
mephits
1d4
sahuagin
2d6
merfolk
2d4
corpses
ofdrowned
sailors
tangled
in
kelp
2d4
constrictor
snakes
1d4
reefsharks
1
swarm
ofquippers
A
bed
ofenormous
clams
1d10
mert'olk
with
1d3
giant
sea
horses
1
giant
octopus
1
merrow
1
plesiosaurus
2d10
pieces
ofcorroded
brass
dinnerware
littering
the
bottom
1
giant
constrictor
snake
1
sea
hag
A
school
of
silvery
fish
darting
through
the
water
1d4
hunter
sharks
1
sahuagin
priestess
with
2d4
sahuagin
1d4
killer
whales
1
giant
shark
1
water
elemental
1
sahuagin
baron
i
l
i
"l.
1
i‘.
l-‘.
'52
1.1-2
i..-
'T
l“:
“:5
.-"l
Ell
ill.
’
H
‘i.l'1'1l...‘~
.
"I;
:fi-‘_-____.
\
.
"-11:35-
-,_.'
;
.
filii-
.::,""1::
UNDERWATER
ENCOUNTERS
(LEVELS
5—10)
d100
01—02
03—04
05—06
07—08
09—10
11—15
16—20
21—25
26—30
31—35
36—40
41—50
51—55
56—60
61—65
66—70
71—75
76—80
81—85
36—90
91—96
97—99
00
Encounter
3d6
steam
mephits
1d10
sahuagin
1
giant
octopus
3d6
constrictor
snakes
2d10
merfolk
with
1d4
giant
sea
horses
1d4
sea
hags
2d4
swarms
ofquippers
A
sunken
galleon
with
a
50%
chance
ofa
random
treasure
hoard
inside
(roll
on
the
Treasure
Hoard:
Challenge
5—10
table
in
chapter
7
ofthe
Dungeon
Master’s
Guide)
1d4
plesiosauruses
3d6
reefsharks
An
abandoned
bathysphere
1d4
giant
constrictor
snakes
2d4
hunter
sharks
1d3
sahuagin
priestesses
with
2d10
sahuagin
An
empty
castle
made
from
coral
1d4
killer
whales
1d10
merrow
An
eerie
statue
ota
squatting
humanoid,
with
bat
wings
on
its
back
and
tentacles
sprouting
from
its
face
1d4
water
elementals
1
sahuagin
baron
with
2d8
sahuagin
1d4
giant
sharks
1
marid
1
storm
giant
UNDERWATER
ENCOUNTERS
(LEVELS
11—20)
d100
01—10
11—35
36—40
41—60
61—65
66—75
76—80
81—90
91—96
97—99
00
Encounter
1
sahuagin
baron
with
1d4
sahuagin
priestesses
and
2d1O
sahuagin
1d10
killer
whales
A
ghost
ship
passing
overhead,
containing
2d6
+
10
ghosts
1d6
giant
sharks
A1-mile-radius
sphere
of
effervescent
water
that
allows
air-breathing
creatures
to
breathe
water
while
in
the
sphere
1d10
water
elementals
A
shimmering,
blue-green
portal
to
the
Elemental
Plane
ofWater
1d4
marids
1d3
storm
giants
1
dragon
turtle
1
kraken
URBAN
EncounnERs(LEVELs1—4)
d100
01
02—03
04—05
06
07
08
09
10
11
12—13
14
15
16
17
18—19
20
21—25
26
27—28
29
30—31
32
33
34
35
36—40
41
42—43
44—45
46—47
48
49
50
51—52
53—54
55—56
57—58
59—60
61—62
63—65
66—67
68-69
70—71
72—73
Encounter
1d6
cats
1
commoner
with
1d6
goats
2d10
rats
1
raven
perched
on
a
signpost
1
commoner
on
a
draft
horse
2d4
mastiffs
1d2
commoners
leading
1d4
mules
or
1d4
ponies
1
pseudodragon
ispy
1d8
+
1
acolytes
1d6
+
6
flying
snakes
3d6
kobolds
2d4
giant
centipedes
1d8
+
1
skeletons
1d6
+
2
swarms
of
rats
1d12
zombies
A
peddler
weighed
down
with
a
load
of
pots,
pans,
and
other
basic
supplies
1
giant
wasp
1
warhorse
2d8
cultists
3d4
giant
rats
2d8
stirges
1d3
+
2
giant
poisonous
snakes
1d4
+
2
swarms
of
bats
2d4
winged
kobolds
A
wagon
loaded
with
apples
that
has
a
broken
wheel
and
holds
up
traffic
1
crocodile
1
swarm
ofinsects
3d6
bandits
1d3
+
2
nobles
on
riding
horses
with
an
escort
of
1d10
guards
2d4
kenku
1d6
+
2
smoke
mephits
1d8
+
1
swarms
ofravens
1
wererat
1d3
half-ogres
1
mimic
1d4
ghouls
1d4
specters
1d10
shadows
Someone
empties
a
chamber
pot
onto
the
street
from
a
second-floor
window
1
ghast
1
priest
1
will-o’-wisp
1d3
giant
spiders
d'IOO
Encounter
74—?5
1d4
yuan-ti
purebloods
76—?7
2d4
thugs
78—80
A
doomsayer
who
preaches
the
end
ofthe
world
from
a
street
corner
31
1
cambion
82
1
vampire
spawn
33
1
couatl
34
1
ghost
85
1
succubus
or1
incubus
36
1
bandit
captain
with
3d6
bandits
8?
1d4
+
1
cult
fanatics
88
1
knight
or1
veteran
89
1
water
weird
90
1
Wight
91
1
mage
92
1
shield
guardian
93
1
gladiator
94
1
revenant
95
2d4
gargoyles
96
1d4
doppelgangers
97
1
oni
93
1
invisible
stalker
99
1d3
+
1
phase
spiders
00
1
assassin
URBAN
ENCOUNTERS
(LEVELS
5—10)
d100
Encounter
01—02
1d10
kenku
03—04
2d5
giant
centipedes
d100
05—06
07—08
09—10
11—13
14—16
17—19
20—22
23—25
26—28
29—31
32—34
35—37
38—40
41—43
44—46
47—49
50—51
52-53
54—55
56—57
58—59
60—61
62-65
66-67
68—69
70—71
Encounter
2d8
skeletons
1d6
swarms
of
bats
and
1d6
swarms
of
rats
3d6
winged
kobolds
2d4
specters
1d4
wights
4d4
acolytes
on
draft
horses
3d6
giant
centipedes
A
talkative
urchin,
badgering
passersby
to
serve
as
their
guide
through
the
community
for
a
price
of
1
sp
1d10
spies
3d6
crocodiles
1d6
+
2
swarms
of
insects
2d4
smoke
mephits
A
noble
shouts
"Stop!
Thief!”
at
a
fleeing
scoundrel
(bandit)
1
succubus
or
1
incubus
1d10
half-ogres
2d10
giant
wasps
4d10
zombies
1d4
knights
on
warhorses
1d4
+
1
water
weirds
1d8
+
1
mimics
2d8
giant
spiders
3d6
shadows
An
actor
leans
out
from
a
second-story
window
to
call
to
passersby,
announcing
a
show
1
bandit
captain
with
3d8
bandits
1d10
will-o’-wisps
2d4
priests:
-
d100
Encounter
d100
Encounter
El
1
72.474
3d6
yuan-ti
purebloods
66—69
A
scruffy
commoner
that
ducks
into
an
alley
in
I
l
75—76
2d10
thugs
make
a
purchase
from
a
suspicious-looking
figure
l
3'
;
77—80
A
fortunenteller
reads
cards
for
those
who
pay
a
70—72
1d8
invisible
stalkers
l
El
price
of1
sp
73—75
1d8
+
1
gladiators
l
l
I
81
1d3
gladiators
76—80
Two
farmers
trading
blows
over
the
price
of
pota-
82 1d4
+1
couatls
toes
(50%
chance
for
one
farmer
to
be
a
retired
83
1d8
ghosts
assassin)
:
84
2d4
doppelgangers
81
-82
1d4
young
silver
dragons
85
1d6
+2
phase
spiders
83—84
1d4
assassins
l
86
2d4
veterans
85—86
1d8
oni
i
87
1d8
ghasts
with
2d6
ghouls
87—88
1d4
mages
with
1d4
shield
guardians
i
88
3d6
gargoyles
89—90
1d10
vampire
spawn
89
2d10
cult
fanatics
91—92
1
adult
silver
dragon
i
90
3d6
wererats
93—94
1d4
gray
slaadi
I
91
1
assassin
95—96
1
spellcaster
vampire
or
1
warrior
vampire
92
1d3
invisible
stalkers
97
1
archmage
speeding
down
the
street
on
a
riding
._
93
1
gray
slaad
horse,
blasting
1d4
guards
with
spells
l
94
1
young
silver
dragon
93
l
rakshasa
'.
i
95
1d4
cambions
or
1d4
revenants
99
1
vampire
ii
I
_
96
3d6
wights
00
1
ancient
silver
dragon
E;
j
97
1
archmage
i'
l
98
2d4
vampire
spawn
or
1d4
oni
URBAN
ENCOU
NTERS
(LEVELS
17-20)
I'
'
99
1
mage
with
1
shield
guardian
d100
Encounter
;
00
l
rakshasa
or
l
mmPire
01—05
1d10
invisible
stalkers
l
06—10
1d10
revenants
i
URBAN
ENCOUNTERS
(LEVELS
11—16)
11—14
1d6+2gladiators
i
d100
Encounter
15—18
2d4
cambions
i
01
1
mimic
19—22
2d6
succubi
or
2d6
incubi
:
02—05
1
bandit
captain
with
Sd10
bandits,
all
on
riding
23-25
A
witch
(archmage)
who
zooms
overhead
on
a
E
horses
broom
offlying
:3
06—10
1d10
knights
on
warhorses
(one
knight
is
a
doppel-
26—30
ld4
gray
slaadi
ganger)
31—35
2d8
couatls
11—13
1d8
succubi
or
1d8
incubi
36—40
A
distraught
parent
who
rushes
up
to
people,
beg-
-;i
14—16
3d5
cult
fanatics
ging
for
help
for
a
child
who
fell
into
the
sewer
:
17-19
1d10
wights
41—45
1d3
young
silver
dragons
l
20—22
3d6
wererats
46—50
3d6
ghosts
23—25
A
distant
boom
followed
by
a
plume
of
smoke
ris-
51-55
l
adult
SilVEI‘
dragon
ii
ing
from
the
other
side
ofthe
community
56—60
1d4
mages
with
1d4
shield
guardians
l
26—28
1d8
+1
ghosts
61—65
An
aggressive
merchant
who
hawks
wares
to
pass-
l'“-"""ll
.'
29_3]
2d10
gargoyles
ersby,
claiming
to
be
the
purveyor
ofthe
finest
silks
I
"
32—34
1d6
+
2
water
weirds
”1
all
the
land
:
35-37
1d4
+
4
will-o'-wisps
66-70
1
ancient
silver
dragon
-
38—40
Street
performers
putting
on
a
puppet
show,
in-
71—75
3d6
vampire
spawn
l
volving
two
puppets
beating
each
other
with
sticks
76-80
A
patrol
01‘2l
guards
marching
uP
the
street,
to
the
amusement
ofthe
gathered
crowd
searching
for
someone
or
something
41—43
2d4
couatls
81—85
1d10
assassins
44-45
zdg
ghasts
86—90
1d4
+
1
gray
slaadi
47—51
1d8
+
1
veterans
91—93
ll
Ohi
l
l-
52—55
3d4
priests
94—96
1
spellcaster
vampire
or
1
warrior
vampire
alt
56—58
2d4
cambions
97
1d4
archmages
2
li
I
'
59—61
1d10
revenants
93
1d3
rakshasas
a?
“if“
62—65
2d4
phase
spiders
99
1d4
vampires
i
l
“I
"
00
1
tarrasque
'
I
l
E
ll
1..Ei.‘\.i"
i'IE
H
L"
i
lit‘Nt-iirrrx
tuits'l
[ii-1‘s
'1";
im
a
it
i
i
'
TRAPS
REVISITED
The
rules
for
traps
in
the
Dungeon
Master’s
Guide
pro-
vide
the
basic
information
you
need
to
manage
traps
at
the
game
table.
The
material
here
takes
a
different,
more
elaborate
approach—describing
traps
in
terms
of
their
game
mechanics
and
offering
guidance
on
creating
traps
of
your
own
using
these
new
rules.
Rather
than
characterize
traps
as
mechanical
or
magi-
cal,
these
rules
separate
traps
into
two
other
categories:
simple
and
complex.
SIMPLE
TRAPS
A
simple
trap
activates
and
is
thereafter
harmless
or
easily
avoided.
A
hidden
pit
dug
at
the
entrance
of
a
goblin
lair,
a
poison
needle
that
pops
from
a
lock,
and
a
crossbow
rigged
to
fire
when
an
intruder
steps
on
a
pressure
plate
are
all
simple
traps.
ELEMENTS
or
A
SIMPLE
TRAP
The
description
of
a
simple
trap
begins
with
a
line
that
gives
the
trap’s
level
and
the
severity
of
the
threat
it
poses.
Following
a
general
note
on
what
the
trap
looks
like
and
how
it
functions
are
three
paragraphs
that
tell
how
the
trap
works
in
the
game.
Level
and
Threat.
A
trap’s
level
is
actually
a
range
of
levels,
equivalent
to
one
of
the
tiers
of
play
(levels
1—4,
5—10,
11-46,
and
17—20),
indicating
the
appropriate
time
to
use
the
trap
in
your
campaign.
Additionally,
each
trap
poses
either
a
moderate,
dangerous,
or
deadly
threat,
based
on
its
particular
details.
Trigger.
A
simple
trap
activates
when
an
event
occurs
that
triggers
it.
This
entry
in
a
trap’s
description
gives
the
location
of
the
trigger
and
the
activity
that
causes
the
trap
to
activate.
Effect.
A
trap’s
effect
occurs
after
it
activates.
The
trap
might
fire
a
dart,
unleash
a
cloud
of
poison
gas,
cause
a
hidden
enclosure
to
open,
and
so
on.
This
en—
try
specifies
what
the
trap
targets,
its
attack
bonus
or
saving
throw
DC,
and
what
happens
on
a
hit
or
a
failed
saving
throw.
Countermeasures.
Traps
can
be
detected
or
defeated
in
a
variety
of
ways
by
using
ability
checks
or
magic.
This
entry
in
a
trap’s
description
gives
the
means
for
counteracting
the
trap.
It
also
specifies
what
happens,
if
anything,
on
a
failed
attempt
to
disable
it.
RUNNING
A
SIMPLE
TRAP
To
prepare
for
using
a
simple
trap
in
play,
start
by
mak—
ing
note
of
the
characters’
passive
Wisdom
(Perception)
scores.
Most
traps
allow
Wisdom
(Perception)
checks
to
detect
their
triggers
or
other
elements
that
can
tip
off
their
presence.
If
you
stop
to
ask
players
for
this
infor-
mation,
they
might
suspect
a
hidden
danger.
When
a
trap
is
triggered,
apply
its
effects
as
specified
in
its
description.
If
the
characters
discover
a
trap,
be
open
to
adjudicat-
ing
their
ideas
for
defeating
it.
The
trap’s
description
is
a
starting
point
for
countermeasures,
rather
than
a
com-
plete
definition.
To
make
it
easier
for
you
to
describe
what
happens
next,
the
players
should
be
specific
about
how
they
want
to
defeat
the
trap.
Simply
stating
the
desire
to
make
a
check
isn’t
helpful
for
you.
Ask
the
players
where
their
characters
are
positioned
and
what
they
intend
to
do
to
defeat
the
trap.
MAKING
TRAPS
MEANINGFUL
Ifyou
want
to
improve
the
chance
that
the
characters
will
come
up
against
the
traps
you’ve
set
for
them
in
an
en-
counter
or
an
adventure,
it
can
be
tempting
to
use
a
large
number
oftraps.
Doing
so
ensures
that
the
characters
will
have
to
deal
with
at
least
one
or
two
ofthem,
but
it’s
better
to
fight
that
urge.
lfyour
encounters
or
adventures
are
sown
with
too
many
traps,
and
ifthe
characters
are
victimized
over
and
over
again
as
a
result,
they
are
likely
to
take
steps
to
pre-
vent
further
bad
things
from
happening.
Because
oftheir
recent
experience,
the
characters
can
become
overly
cau-
tious,
and
you
run
the
risk
ofthe
action
grinding
to
a
halt
as
the
players
search
every
square
inch
ofthe
dungeon
for
trip
wires
and
pressure
plates.
Traps
are
most
effective
when
their
presence
comes
as
a
surprise,
not
when
they
appear
so
often
that
the
characters
spend
all
their
effort
watching
out
for
the
next
one.
EXAMPLE
SIMPLE
TRAPS
The
following
simple
traps
can
be
used
to
populate
your
adventures
or
as
models
for
your
own
creations.
BEAR
TRAP
Simple
trap
(level
1—4,
dangerous
threat)
A
bear
trap
resembles
a
set
of
iron
jaws
that
springs
shut
when
stepped
on,
clamping
down
on
a
creature’s
leg.
The
trap
is
spiked
in
the
ground,
leaving
the
victim
immobilized.
Trigger.
A
creature
that
steps
on
the
bear
trap
triggers
it.
Effect.
The
trap
makes
an
attack
against
the
trigger~
ing
creature.
The
attack
has
a
+8
attack
bonus
and
deals
5
(M10)
piercing
damage
on
a
hit.
This
attack
can’t
gain
advantage
or
disadvantage.
A
creature
hit
by
the
trap
has
its
speed
reduced
to
0.
It
can’t
move
until
it
breaks
free
of
the
trap,
which
requires
a
successful
DC
15
Strength
check
by
the
creature
or
another
creature
adja-
cent
to
the
trap.
Countermeasures.
A
successful
DC
10
Wisdom
(Perception)
check
reveals
the
trap.
A
successful
DC
10
Dexterity
check
using
thieves’
tools
disables
it.
Caosssow
TRAP
Simple
trap
(level
1—4,
dangerous
threat)
The
crossbow
trap
is
a
favorite
of
kobolds
and
other
creatures
that
rely
on
traps
to
defend
their
lairs.
It
consists
of
a
trip
wire
strung
across
a
hallway
and
con—
nected
to
a
pair
of
hidden
heavy
crossbows.
The
cross-
bows
are
aimed
to
fire
down
the
hallway
at
anyone
who
disturbs
the
trip
wire.
Trigger.
A
creature
that
walks
through
the
trip
wire
triggers
the
trap.
Efl’ect.
The trap
makes
two
attacks
against
the
trig-
gering
creature.
Each
attack
has
a
+8
attack
bonus
and
deals
5
(ll)
piercing
damage
on
a
hit.
This
attack
can’t
gain
advantage
or
disadvantage.
Countermeasures.
A
successful
DC
15
Wisdom
(Perception)
check
reveals
the
trip
wire.
A
successful
DC
15
Dexterity
check
using
thieves’
tools
disables
the
trip
wire,
and
a
check
with
a
total
of
5
or
lower
trig-
gers
the
trap.
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'
2
:
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sitsrta's
Trans
FALLING
PORTCULLIS
Simple
trap
(level
1—4,
moderate
threat)
Some
folk
who
build
dungeons,
such
as
mad
wizards
in
search
of
new
victims,
have
no
intention
of
allowing
their
visitors
to
make
an
easy
escape.
A
falling
portcullis
trap
can
be
especially
devious
if
it
causes
a
portcullis
to
drop
some
distance
away
from
the
pressure
plate
that
activates
the
trap.
Although
the
trap
is
deep
in
the
dungeon,
the
portcullis
closes
off
the
dungeon
entrance,
which
is
hundreds
of
feet
away,
meaning
that
adventur—
ers
don’t
know
they
are
trapped
until
they
decide
to
head
for
the
exit.
Trigger.
A
creature
that
steps
on
the
pressure
plate
triggers
the
trap.
Efl'ect.
An
iron
portcullis
drops
from
the
ceiling,
blocking
an
exit
or
a
passageway.
Countermeasures.
A
successful
DC
20
Wisdom
(Per—
ception)
check
reveals
the
pressure
plate.
A
successful
DC
20
Dexterity
check
using
thieves’
tools
disables
it,
and
a
check
with
a
total
of
5
or
lower
triggers
the
trap.
FIERY
BLAST
Simple
trap
(level
5—10,
dangerous
threat)
The
temple
of
Pyremius,
a
god
of
fire,
is
threatened
by
thieves
who
seek
to
steal
the
fire
opals
displayed
there
by
the
priests
in
tribute
to
their
god.
A
mosaic
on
the
floor
of
the
entryway
to
the
inner
sanctum
delivers
a
fiery
rebuke
to
intruders.
Trigger.
Anyone
who
steps
on
the
mosaic
causes
fire
to
erupt
from
it.
Those
who
openly
wear
holy
symbols
of
Pyremius
don’t
trigger
this
trap.
Effect.
A
15—foot
cube
of
fire
erupts,
covering
the
pres—
sure
plate
and
the
area
around
it.
Each
creature
in
the
area
must
make
a
DC
15
Dexterity
saving
throw,
taking
24
(7d6)
fire
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
Countermeasures.
A
successful
DC
15
Wisdom
(Perception)
check
reveals
the
presence
of
ash
and
faint
burn
marks
in
the
area
affected
by
this
trap.
A
success
ful
DC
15
Intelligence
(Religion)
check
enables
a
crea-
ture
to
destroy
the
trap
by
defacing
a
key
rune
on
the
perimeter
of
the
mosaic
that
is
within
reach;
failing
this
check
causes
the
trap
to
activate.
A
successful
dispel
magic
(DC
15)
cast
on
the
runes
destroys
the
trap.
NET
TRAP
Simple
trap
(level
1—4,
dangerous
threat)
Goblins,
with
their
propensity
to
enslave
their
enemies,
prefer
traps
that
leave
intruders
intact
so
the
victims
can
be
put
to
work
in
the
mines
or
elsewhere.
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a
Trigger.
A
trip
wire
strung
across
a
hallway
is
rigged
}
to
a
large
net.
If
the
trip
wire
is
broken,
the
net
falls
on
intruders.
An
iron
bell
is
also
rigged
to
the
trip
wire.
It
rings
when
the
trap
activates,
alerting
nearby
guards.
Efi'ect.
A
net
covering
a
10-foot~by—lO-foot
area
cen-
tered
on
the
trip
wire
falls
to
the
floor
as
a
bell
rings.
Any
creature
fully
within
this
area
must
succeed
on
a
DC
15
Dexterity
saving
throw
or
be
restrained.
A
crea-
ture
can
use
its
action
to
make
a
DC
10
Strength
check
to
try
to
free
itself
or
another
creature
in
the
net.
Deal-
ing
5
slashing
damage
to
the
net
(AC
10,
20
hp)
also
frees
a
creature
without
harming
the
creature.
Countermeasures.
A
successful
DC
15
Wisdom
(Per-
ception)
check
reveals
the
trip
wire
and
the
net.
A
suc—
cessful
DC
15
Dexterity
check
using
thieves’
tools
dis-
ables
the
trip
wire
without
causing
the
net
to
drop
or
the
bell
to
ring;
failing
the
check
causes
the
trap
to
activate.
PIT
TRAP
Simple
trap
(level
1—4,
moderate
threat)
The
simplest
of
pit
traps
consists
of
a
lO-foot—deep
hole
in
the
floor,
concealed
by
tattered
canvas
that’s
covered
with
leaves
and
dirt
to
look
like
solid
ground.
This
type
of
trap
is
useful
for
blocking
off
the
entrance
to
a
mon-
ster
lair,
and
usually
has
narrow
ledges
along
its
sides
to
allow
for
movement
around
it.
Trigger.
Anyone
who
steps
on
the
canvas
might
fall
into
the
pit.
Effect.
The
triggering
creature
must
make
a
DC
10
Dexterity
saving
throw.
On
a
successful
save,
the
crea-
ture
catches
itself
on
the
pit’s
edge
or
instinctively
steps
back.
On
a
failed
save,
the
creature
falls
into
the
pit
and
takes
3
(M6)
bludgeoning
damage
from
the
fall.
Countermeasures.
A
successful
DC
10
Wisdom
(Pera
ception)
check
reveals
the
presence
of
the
canvas
and
the
1-foot—wide
ledge
around
the
edges
of
the
pit
where
it
is
safe
to
travel.
POISON
NEEDLE
Simple
trap
(level
1—4,
deadly
threat)
A
tiny,
poisoned
needle
hidden
in
a
lock
is
a
good
way
to
discourage
thieves
from
plundering
a
hoard.
Such
a
trap
is
usually
put
in
a
chest
or
in
the
door
to
a
trea—
sure
chamber.
Trigger.
Anyone
attempting
to
pick
or
open
the
lock
triggers
the
trap.
Effect.
The
triggering
creature
must
make
a
DC
20
Constitution
saving
throw.
On
a
failed
save,
the
creature
takes
14
(4d6)
poison
damage
and
is
poisoned
for
10
minutes.
While
poisoned
in
this
way,
the
creature
is
par-
alyzed.
On
a
successful
save,
the
creature
takes
half
as
much
damage
and
isn’t
poisoned.
Countermeasures.
A
successful
DC
20
Wisdom
(Per-
ception)
check
reveals
the
needle,
but
only
if
a
character
inspects
the
look.
A
successful
DC
20
Dexterity
check
using
thieves’
tools
disables
the
needle,
and
a
check
with
a
total
of
10
or
lower
triggers
the
trap.
SCYTHING
BLADE
Simple
trap
(level
5—10,
dangerous
threat)
This
trap
uses
moving
blades
that
sweep
down
through
a
chamber,
threatening
anyone
nearby.
Typically,
a
scything
blade
trap
is
activated
by
manipulating
a
lever
or
some
other
simple
device.
Kobolds
especially
like
this
kind
of
trap,
since
it
can
take
down
bigger
creatures.
Trigger.
When
the
lever
is
pulled,
the
trap
activates.
Effect.
Each
Medium
or
larger
creature
in
a
5—foot—
wide,
20-foot-long
area
must
make
a
DC
15
Dexterity
saving
throw,
taking
14
(4d6)
slashing
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
Countermeasures.
The
lever
isn’t
hidden.
A
success-
ful
DC
15
Wisdom
(Perception)
check
involving
the
surfaces
in
the
trap’s
area
of
effect
reveals
scrape
marks
and
bloodstains
on
the
walls
and
floor.
A
successful
DC
15
Dexterity
check
using
thieves’
tools
disables
,
the
lever.
i
SLEEP
or
AGES
j
Simple
trap
(level
11—16,
deadly
threat)
When
a
sleep
of
ages
trap
activates,
a
pressure
plate
.
unleashes
a
spell
that
threatens
to
send
intruders
into
a
deep
slumber.
The
dungeon’s
guardians
can
then
more
easily
dispose
of
the
sleepers.
Trigger.
Stepping
on
the
pressure
plate
triggers
this
trap.
Effect.
When
activated,
this
trap
casts
a
sleep
spell
centered
on
the
pressure
plate,
using
a
9th-level
spell
slot.
Countermeasures.
A
successful
DC
20
Wisdom
(Per-
ception)
check
reveals
the
pressure
plate.
A
successful
DC
20
Intelligence
(Arcana)
check
made
within
5
feet
of
the
pressure
plate
disables
the
trap,
and
a
check
with
a
total
of
10
or
lower
triggers
it.
A
successful
dispel
magic
(DC
19)
cast
on
the
pressure
plate
destroys
the
trap.
DESIGNING
SIMPLE
TRAPS
You
can
create
your
own
simple
traps
by
using
the
fol-
lowing
guidelines.
You
can
also
adapt
the
example
traps
for
different
levels
and
severity
of
threat
by
modifying
their
DCs
and
damage
values
as
shown
below.
PU
RPOSE
Before
diving
into
the
details
of
your
trap,
think
about
its
reason
for
being.
Why
would
someone
build
such
a
trap?
What
is
its
purpose?
Consider
the
traps
creator
(in
the
adventure),
the
creator’s
purpose,
and
the
location
the
trap
protects.
Traps
have
context
in
the
world—they
aren’t
created
for
no
reason—and
that
context
drives
the
trap’s
nature
and
effects.
Described
below
are
a
few
of
the
general
purposes
a
trap
might
have.
Use
them
to
inspire
the
creation
of
your
own
traps.
Alarm.
An
alarm
trap
is
designed
to
alert
an
area’s
occupants
of
intruders.
It
might
cause
a
bell
or
a
gong
to
sound.
This
type
of
trap
rarely
involves
a
saving
-.
throw,
because
the
alarm
can’t
be
avoided
when
the
_.
'i
trap
goes
off.
"
Delay.
Some
traps
are
designed
to
slow
down
ene-
mies,
giving
a
dungeon’s
inhabitants
time
to
mount
a
defense
or
flee.
The
hidden
pit
is
a
classic
example
of
this
kind
of
trap.
A
lO-foot—deep
pit
usually
deals
little
damage
and
is
easy
to
escape,
but
it
serves
its
purpose
by
impeding
intruders.
Other
examples
of
delaying
traps
include
collapsing
walls,
a
portcullis
that
drops
from
the
ceiling,
and
a
locking
mechanism
that
shuts
and
bars
a
door.
If
a
delaying
trap
has
moving
parts
that
directly
threaten
characters
when
they
operate,
the
characters
are
usually
required
to
make
Dexterity
saving
throws
to
avoid
harm.
Restrain.
A
restraining
trap
tries
to
keep
its
victims
in
place,
leaving
them
unable
to
move.
Such
traps
are
often
employed
in
conjunction
with
regular
guard
patrols,
so
that
victims
are
periodically
extricated
and
taken
away
to
be
dealt
with.
But
in
an
ancient
dungeon,
the
guards
might
be
long
gone.
Restraining
traps
usually
require
a
successful
Strength
saving
throw
to
be
avoided,
but
some
don’t
allow
saving
throws.
In
addition
to
dealing
damage,
a
restraining
trap
also
renders
a
creature
unable
to
move.
Making
a
subsequent
successful
Strength
check
(using
the
trap’s
saving
throw
DC)
or
dealing
damage
against
the
trap
can
break
it
and
free
the
captive.
Examples
in-
clude
a
bear
trap,
a
cage
that
drops
from
a
ceiling,
and
a
device
that
flings
a
net.
Slay.
Some
traps
are
designed
to
eliminate
intrud—
ers,
plain
and
simple.
Their
effects
include
poisoned
needles
that
spring
out
when
a
lock
is
tampered
with,
blasts
of
fire
that
fill
a
room,
poison
gas,
and
other
lethal
measures.
Saving
throws—usually
Dexterity
or
Constitution-wallow
creatures
to
avoid
or
mitigate
the
traps
effects.
i".
ii
-‘\.
Ell
[5
33
L‘
i
l.)
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hi
i
I-
ll.)
55
El
AFTE
l-l'.‘
.5
'l'i..l'tf31i‘i
LEVEL
AND
LETHALITY
Before
creating
a
trap’s
effects,
think
about
its
level
and
its
lethality.
Traps
are
divided
into
four
level
ranges:
1—4,
5—10,
11—16,
and
17—20.
The
level
you
choose
for
a
trap
gives
you
a
starting
point
for
determining
its
potency.
To
further
delineate
the
trap's
strength,
decide
whether
it
is
a
moderate,
dangerous,
or
deadly
threat
to
characters
in
its
level
range.
A
moderate
trap
is
unlikely
to
kill
a
character.
A
dangerous
trap
typically
deals
enough
damage
that
a
character
hit
by
one
is
eager
for
healing.
A
deadly
trap
might
reduce
a
creature
to
0
hit
points
in
one
shot,
and
leaves
most
creatures
hit
by
it
in
need
of
a
short
or
long
rest.
Consult
the
following
tables
when
determining
a
trap’s
effects.
The
Trap
Save
DCs
and
Attack
Bonuses
table
provides
guidelines
for
a
trap’s
saving
throw
DC,
check
DC,
and
attack
bonus.
The
check
DC
is
the
default
for
any
check
used
to
interact
with
the
trap.
The
Damage
Severity
by
Level
table
lists
the
typical
damage
a
trap
deals
at
certain
character
levels.
The
damage
values
given
assume
that
the
trap
damages
one
creature.
Use
d6s
for
damage
in
place
of
dIOS
for
traps
that
can
affect
more
than
one
creature
at
a
time.
The
Spell
Equivalent
by
Level
table
shows
the
spell
slot
level
that
is
appropriate
for
a
given
character
level
and
the
severity
of
danger
posed
by
the
trap.
A
spell
is
a
great
foundation
to
use
as
the
design
of
a
trap,
whether
the
trap
duplicates
the
spell
(a
mirror
that
casts
charm
person
on
whoever
looks
into
it)
or
uses
its
effects
(an
alchemical
device
that
explodes
like
a
fireball).
The
Deadly
entry
for
characters
of
17th
level
or
higher
suggests
combining
a
9th—level
and
a
5th-level
spell
into
one
effect.
In
this
case,
pick
two
spells,
or
combine
the
effects
of
a
spell
cast
using
a
9th-level
and
a
5th—level
slot.
For
instance,
a
fireball
spell
of
this
sort
would
deal
24d6
fire
damage
on
a
failed
saving
throw.
TRAP
SAVE
DCs
AND
ATTACK
BONUSES
Trap
Danger
Save/Check
DC
Attack
Bonus
Moderate
10
+5
Dangerous
15
+8
Deadly
20
+12
DAMAGE
SEVERITY
BY
LEVEL
Character
Level
Moderate
Dangerous
Deadly
1—4
5
(ll)
ll
(2l)
22
(4l)
5—10
11
(Zl)
22
(4dl0)
55
(lDl)
11—16
22
(4l)
55
(lOl)
99
{13d10)
17—20
55
(lOl)
99
(lSl)
132
(24l)
SPELL
EQUIVALENT
BY
LEVEL
Character
Level
Moderate
Dangerous
Deadly
1—4
Cantrip
lst
2nd
5—10
lst
3rd
6th
11—16
3rd
6th
9th
17—20
6th
9th
9th
+
5th
TRIGGERS
A
trigger
is
the
circumstance
that
needs
to
take
place
to
activate
the
trap.
Decide
what
causes
the
trap
to
activate
and
determine
how
the
characters
can
find
the
trigger.
Here
are
some
example
triggers:
-
A
pressure
plate
that,
when
it
is
stepped
on,
acti-
vates
the
trap
-
A
trip
wire
that
springs
a
trap
when
it
is
broken,
usu-
ally
when
someone
walks
through
it
-
A
doorknob
that
activates
a
trap
when
it
is
turned
the
wrong
way
-
A
door
or
chest
that
triggers
a
trap
when
it
is
opened
A
trigger
usually
needs
to
be
hidden
to
be
effective.
Oth-
erwise,
avoiding
the
trap
is
usually
easy.
A
trigger
requires
a
Wisdom
(Perception)
check
if
simply
spotting
it
reveals
its
nature.
The
characters
can
foil
a
pit
trap
hidden
by
a
leaf—covered
net
if
they
spot
the
pit
through
a
gap
in
the
leaves.
A
trip
wire
is
foiled
if
it
is
spotted,
as
is
a
pressure
plate.
Other
traps
require
careful
inspection
and
deduction
to
notice.
A
doorknob
opens
a
door
when
turned
to
the
left,
but
activates
a
trap
when
turned
to
the
right.
Such
a
subtle
trap
requires
a
successful
Intelligence
(Investiga-
tion)
check
to
notice.
The
trigger
is
obvious.
Understand—
ing
its
nature
is
not.
The
DC
of
the
check,
regardless
of
its
type,
depends
on
the
skill
and
care
taken
to
conceal
the
trap.
Most
traps
can
be
detected
with
a
successful
DC
20
check,
but
a
crudely
made
or
hastily
built
trap
has
a
DC
of
15.
Exceptionally
devious
traps
might
have
a
DC
of
25.
You
must
then
put
some
thought
into
what
the
char—
acters
learn
with
a
successful
check.
In
most
cases,
the
check
reveals
the
trap.
In
other
cases,
it
uncovers
clues,
but
foiling
the
trap
still
requires
some
deduction.
The
characters
might
succeed
on
the
check
but
still
trigger
the
trap
if
they
don‘t
understand
what
they
have
learned.
EFFECTS
Designing
a
trap’s
effects
is
a
straightforward
process.
The
tables
for
saving
throw
DCs,
attack
bonuses,
dam—
age,
and
the
like
give
you
a
starting
point
for
most
sim-
ple
traps
that
deal
damage.
For
traps
with
more
complex
effects,
your
best
start—
ing
point
is
to
use
the
Spell
Equivalent
by
Level
table
to
find
the
best
match
for
your
trap’s
intended
effect.
Spells
are
a
good
starting
point
because
they
are
compact
pieces
of
game
design
that
deliver
specific
effects.
If
you
are
using
a
spell
as
a
starting
point,
check
to
see
if
you
need
to
tweak
its
effects
to
fit
the
trap’s
nature.
For
instance,
you
can
easily
change
the
damage
type
a
spell
delivers
or
the
saving
throw
it
requires.
DISARMING
A
SIMPLE
TRAP
Only
one
successful
ability
check
is
required
to
disarm
a
simple
trap.
Imagine
how
your
trap
operates,
and
then
think
about
how
the
characters
could
overcome
it.
More
than
one
kind
of
ability
check
might
be
possible.
Some
traps
are
so
poorly
concealed
that
they
can
be
discov—
ered
or
circumvented
without
active
effort.
For
instance,
a
hidden
pit
trap
is
effectively
disarmed
as
soon
as
the
characters
notice
it.
After
that,
they
can
simply
walk
around
it,
or
they
can
climb
down
one
side,
walk
across
the
bottom
of
the
pit,
and
climb
up
the
other
side.
Once
you
determine
how
a
trap
can
be
disarmed
or
avoided,
decide
the
appropriate
ability
and
skill
com—
binations
that
characters
can
use.
A
Dexterity
check
using
thieves’
tools,
a
Strength
(Athletics)
check,
and
an
,
Intelligence
(Arcana)
check
are
all
commonly
used
for
1
,
this
purpose.
,
A
Dexterity
check
using
thieves’
tools
can
apply
to
any
,
trap
that
has
a
mechanical
element.
Thieves’
tools
can
i
be
used
to
disable
a
trip
wire
or
a
pressure
plate,
disas-
'
semble
a
poison
needle
mechanism,
or
clog
a
valve
that
'
leaks
poisonous
gas
into
a
room.
A
Strength
check
is
often
the
method
for
thwarting
traps
that
can
be
destroyed
or
prevented
from
operating
through
the
use
of
brute
force.
A
scything
blade
can
be
broken,
a
sliding
block
can
be
held
in
place,
or
a
net
can
be
torn
apart.
A
magic
trap
can
be
disabled
by
someone
who
can
I
undermine
the
magic
used
to
power
it.
Typically,
a
suc-
_
cessful
Intelligence
(Arcana)
check
enables
a
character
|
to
figure
out
how
a
magic
trap
functions
and
how
to
ne-
I
gate
its
effect.
For
instance,
the
character
could
discover
'
that
a
statue
that
belches
a
jet
of
magical
flame
can
be
disabled
by
shattering
one
of
its
glass
eyes.
Once
you
know
what
kind
of
check
is
called
for,
you
then
determine
what
happens
on
a
failed
attempt
to
dis-
able
the
trap.
Depending
on
the
kind
of
check
involved
and
the
nature
of
the
trap,
you
might
determine
that
any
failed
check
has
negative
consequences—usually
involv-
ing
the
triggering
of
the
trap.
At
other
times,
you
could
assign
a
number
that
the
check
must
exceed
to
prevent
the
trap
from
going
off.
If
the
total
of
the
check
is
equal
to
or
lower
than
that
number,
the
trap
activates.
PLACING
A
SIMPLE
TRAP
Context
and
environment
are
critical
when
it
comes
to
properly
locating
a
trap.
A
swinging
log
trap
that’s
meant
to
knock
characters
aside
is
a
mere
inconve-
nience
on
a
typical
forest
path,
where
it
can
be
easily
circumvented.
But
it’s
a
potentially
deadly
hazard
on
a
narrow
trail
that
hugs
the
side
of
a
towering
cliff
face.
Choke
points
and
narrow
passages
that
lead
to
im-
portant
places
in
a
dungeon
are
good
spots
for
traps,
especially
those
that
serve
as
alarms
or
restraints.
The
goal
is
to
foil
or
delay
intruders
before
they
can
reach
a
critical
location,
giving
the
dungeon’s
denizens
a
chance
to
mount
a
defense
or
a
counterattack.
A
treasure
chest,
a
door
leading
to
a
vault,
or
any
other
obstacle‘or
container
that
bars
the
way
to
a
valuable
treasure
is
the
ideal
location
for
a
slaying
trap.
In
such
instances,
the
trap
is
the
last
line
of
defense
against
a
thief
or
intruder.
Alarm
traps,
since
they
pose
no
direct
physical
threat,
are
appropriate
for
areas
that
are
also
used
by
a
dungeon’s
denizens—assuming
the
residents
know
about
the
trap
and
how
to
avoid
setting
it
off.
Accidents
can
happen,
but
if
a
goblin
stumbles
inside
its
den
and
activates
an
alarm
trap,
there’s
no
real
harm
done.
The
alarm
sounds,
the
guards
arrive,
they
punish
the
clumsy
goblin,
and
they
reset
the
trap.
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--
COMPLEX
TRAPS
A
complex
trap
poses
multiple
dangers
to
adventurers.
After
a
complex
trap
activates,
it
remains
dangerous
round
after
round
until
the
characters
avoid
it
or
disable
it.
Some
complex
traps
become
more
dangerous
over
time,
as
they
accumulate
power
or
gain
speed.
Complex
traps
are.
also
more
difficult
to
disable
than
simple
ones.
A
single
check
is
not
enough.
Instead,
a
se-
ries
of
checks
is
required
to
slowly
disengage
the
trap’s
components.
The
trap’s
effect
degrades
with
each
sucn
cessful
check
until
the
characters
finally
deactivate
it.
Most
complex
traps
are
designed
so
that
they
can
be
disarmed
only
by
someone
who
is
exposed
to
the
traps
effect.
For
example,
the
mechanism
that
controls
a
hall—
way
filled
with
scything
blades
is
on
the
Opposite
end
from
the
entrance,
or
a
statue
that
bathes
an
area
in
ne-
crotic
energy
can
be
disabled
only
by
someone
standing
in
the
affected
area.
DESCRIBING
A
COMPLEX
TRAP
A
complex
trap
has
all
the
elements
of
a
simple
trap,
plus
special
characteristics
that
make
the
trap
a
more
dynamic
threat.
Level
and
Threat.
A
complex
trap
uses
the
same
level
and
severity
designations
that
a
simple
trap
does.
Trigger.
Just
like
a
simple
trap,
a
complex
trap
has
a
trigger.
Some
complex
traps
have
multiple
triggers.
Initiative.
A
complex
trap
takes
turns
as
a
creature
does,
because
it
functions
over
a
period
of
time.
This
part
of
a
trap's
description
tells
whether
the
trap
is
slow
(acts
on
initiative
count
10),
fast
(acts
on
initiative
(:0t
20),
or
very
fast
(acts
on
initiative
count
20
and
also
ini-
tiative
count
10).
A
trap
always
acts
after
creatures
that
have
the
same
initiative
count.
Active
Elements.
On
a
trap’s
turn,
it
produces
specific
effects
that
are
detailed
in
this
part
of
its
description.
The
trap
might
have
multiple
active
elements,
a
table
you
roll
on
to
determine
its
effect
at
random,
or
options
for
you
to
choose
from.
Dynamic
Elements.
A
dynamic
element
is
a
threat
that
arises
or
evolves
while
the
trap
functions.
Usually,
changes
involving
dramatic
elements
take
effect
at
the
end
of
each
of
the
trap’s
turns
or
in
response
to
the
char
acters'
actions.
Constant
Eiements.
A
complex
trap
poses
a
threat
even
when
it
is
not
taking
its
turn.
The
constant
ele—
ments
describe
how
these
parts
of
the
trap
function.
Most
make
an
attack
or
force
a
saving
throw
against
any
creature
that
ends
its
turn
within
a
certain
area.
Countermeasures.
A
trap
can
be
defeated
in
a
variety
of
ways.
A
trap’s
description
details
the
checks
or
spells
that
can
detect
or
disable
it.
It
also
specifies
what
hap—
pens,
if
anything,
on
a
failed
attempt
to
disable
it.
Disabling
a
complex
trap
is
like
disarming
a
simple
trap,
except
that
a
complex
trap
requires
more
checks.
It
typically
takes
three
successful
checks
to
disable
one
of
a
complex
trap’s
elements.
Many
of
these
traps
have
multiple
elements,
requiring
a
lot
of
work
to
shut
down
every
part
of
the
trap.
Usually,
a
successful
check
reduces
a
trap
element's
effectiveness
even
if
it
doesn’t
disable
the
trap.
RUNNING
A
COMPLEX
TRAP
A
complex
trap
functions
in
play
much
like
a
legendary
monster.
When
it
is
activated,
the
trap’s
active
elements
act
according
to
its
initiative.
On
each
of
its
initiative
counts,
after
all
creatures
with
that
same
initiative
count
have
acted,
the
traps
features
activate.
Apply
the
effects
detailed
in
the
trap’s
description.
After
resolving
the
effects
of
the
traps
active
elements,
check
its
dynamic
elements
to
see
if
anything
changes
about
the
trap.
Many
complex
traps
have
effects
that
vary
during
an
encounter.
A
magical
aura
might
do
more
damage
the
longer
it
is
active,
or
a
swinging
blade
might
change
which
area
of
a
chamber
it
attacks.
The
trap’s
constant
elements
allow
it
to
have
effects
when
it
isn’t
the
trap’s
turn.
At
the
end
of
each
creature’s
turn,
look
at
the
traps
constant
elements
to
see
if
any
of
their
effects
are
triggered.
EXPERIENCE
FOR
COMPLEX
TRAPS
Overcoming
a
complex
trap
merits
an
experience
point
award,
depending
on
the
danger
it
poses.
Judging
whether
a
party
has
overcome
a
trap
requires
some
amount
of
adjudication.
As
a
rule
of
thumb,
if
the
char-
acters
disable
a
complex
trap
or
are
exposed
to
its
ef-
fects
and
survive,
award
them
experience
points
for
the
effort
according
to
the
table
below.
COMPLEX
TRAP
EXPERIENCE
AWARDS
Trap
Level
Experience
Points
1—4
650
5—10
3,850
11—1
6
11
,100
17—20
21
.500
EXAMPLE
COMPLEX
TRAPS
The
following
complex
traps
can
be
used
to
challenge
characters
or
to
inspire
your
own
creations.
PATH
OF
BLADES
Complex
trap
(level
1—4,
dangerous
threat)
Hidden
within
a
buried
pyramid
that
marks
the
location
of
the
Lost
City
of
Cynidicea
is
the
tomb
of
King
Alexan-
der
and
Queen
Zenobia.
The
entrance
to
their
tomb
is
a
long
hallway
riddled
with
traps,
accessible
only
by
cun-
ningly
hidden
secret
doors.
The
hallway
is
20
feet
wide
and
160
feet
long.
It
is
mostly
clear.
After
80
feet,
the
floor
is
broken
and
cracked,
becoming
difficult
terrain
until
the
130—foot
mark.
Trigger.
This
trap
activates
as
soon
as
a
non-undead
creature
enters
the
hallway,
and
it
remains
active
while
any
non-undead
creature
is
within
the
hall.
Initiative.
The
trap
acts
on
initiative
count
20
and
ini-
tiative
count
10.
Active
Elements.
The
Path
of
Blades
includes
a
set
of
whirling
blades
along
the
first
80
feet
of
the
trap,
crush-
ing
pillars
that
slam
down
from
the
ceiling
to
the
fJOOr
before
rising
back
up
to
the
ceiling
in
the
next
50
feet,
and
a
rune
of
fear
in
its
final
30
feet.
Whirling
Blades
(Initiative
20).
The
blades
attack
each
creature
in
the
first
80
feet
of
the
hallway,
with
a
+5
bonus
to
the
attack
roll
and
dealing
11
(2l)
slashing
damage
on
a
hit.
Crushing
Pillars
(Initiative
10).
Each
creature
in
the
50-foot—long
area
beyond
the
first
80
feet
of
the
hall—
way
must
make
a
DC
15
Dexterity
saving
throw.
On
a
failed
save,
a
creature
takes
]
l
(2d10)
bludgeoning
damage
and
is
knocked
prone.
On
a
successful
save,
the
creature
takes
half
as
much
damage
and
isn’t
knocked
prone.
Rune
of
Fear
(Initiative
10).
Each
creature
in
the
30-foot—long
area
beyond
the
Crushing
Pillars
must
make
a
DC
15
Wisdom
saving
throw.
On
a
failed
saving
throw,
the
creature
becomes
frightened
by
the
rune,
and
it
must
immediately
use
its
reaction
to
move
its
speed
in
the
direction
ofthe
pillars.
The
frightened
creature
can’t
move
closer
to
the
far
end
of
the
hallway
until
it
uses
its
action
to
make
a
DC
15
Wisdom
saving
throw,
which
ends
the
frightened
condition
on
itself
on
a
success.
Dynamic
Elements.
The
blades
and
the
rune
become
more
dangerous
the
longer
the
trap
remains
active.
Blades
Accelerate.
The
blades
move
with
increasing
speed,
slowing
only
when
they
hit
a
target.
Each
time
the
blades
miss
with
an
attack,
their
next
at—
tack
becomes
harder
to
avoid.
After
each
miss,
the
blades’
attack
bonus
increases
by
2,
and
their
dam-
age
increases
by
3
(M6).
These
benefits
apply
until
the
blades
hit
a
target,
after
which
the
values
return
to
normal.
Rune’s
Defense.
Tampering
with
the
Rune
of
Fear
in—
creases
the
trap’s
power.
Each
successful
check
on
an
attempt
to
disable
the
rune
increases
the
damage
of
the
blades
and
the
crushing
pillars
by
5
(1l)
and
increases
the
rune’s
saving
throw
DC
by
1.
Constant
Elements.
The
Whirling
Blades
and
the
Rune
of
Fear
affect
each
creature
that
ends
its
turn
in
an
area
affected
by
these
elements.
Whirling
Blades.
Any
creature
that
ends
its
turn
in
the
blades’
area
is
targeted
by
an
attack:
+5
attack
bonus;
5
(1d10)
slashing
damage
on
a
hit.
Rune
of
Fear.
Any
creature
that
ends
its
turn
within
30
feet
of
the
far
end
of
the
corridor
must
make
a
saving
throw
against
the
Rune
of
Fear
effect.
Countermeasures.
Each
of
the
trap’s
active
elements
can
be
thwarted
by
particular
countermeasures.
Whirling
Blades.
Characters
can
smash
the
blades,
damage
their
components,
or
discern
how
to
avoid
them.
The
blades
are
disabled
if
their
attack
bonus
is
reduced
to
—8.
Ways
to
reduce
it
are
de—
scribed
below.
lntelligence
(Investigation),
DC
15.
As
an
action,
a
creature
that
can
see
the
blades
can
attempt
an
In-
telligence
(Investigation)
check.
A
successful
check
means
that
the
character
has
learned
how
to
antici-
pate
the
blades’
movement,
imposing
disadvantage
on
the
blades"
attacks
against
the
creature
while
it
isn‘t
incapacitated.
Attack.
A
creature
in
the
area
can
ready
an
attack
to
strike
at
one
of
the
blades
as
it
goes
by.
The
blade
gains
advantage
on
its
attack
against
the
creature.
The
creature
then
attacks.
Each
blade
has
AC
15
and
15
hit
points.
Destroying
a
blade
reduces
the
Whirling
Blades
attack
bonus
by
2.
Dexterity
check
using
thieves"
tools,
DC
15.
Creatures
can
use
thieves’
tools
in
the
area
attacked
by
the
blades
to
foil
their
mechanism.
A
successful
check
reduces
the
Whirling
Blades
attack
bonus
by
2.
Crushing
Pillars.
The
pillars
are
not
susceptible
to
countermeasures.
Rune
of
Fear.
The
rune
can
be
disabled
with
three
successful
DC
15
Intelligence
(Arcana)
checks.
Each
check
requires
an
action.
A
creature
must
be
at
the
end
of
the
hallway
to
attempt
the
check,
and
only
one
creature
can
work
on
this
task
at
once.
Once
a
creature
attempts
a
check
for
this
purpose,
no
other
character
can
do
so
until
the
end
of
that
creature’s
next
turn.
Alternatively,
the
rune
can
be
disabled
with
three
successful
castings
of
dispel
magic
(DC
13)
targeting
the
rune.
SPHERE‘
or
CRUSHING
DOOM
Complex
trap
(level
5—10,
deadly
threat)
The
court
jester
devised
a
deadly
trap
to
foil
anyone
who
sought
to
steal
his
magic
fool’s
cap.
The
jester’s
tomb
is
located
at
the
end
of
a
10—foot-wide,
ISO—foot—Iong
hallway
that
descends
sharply
from
north
to
south.
The
entrance
to
the
tomb
is
a
door
on
the
eastern
wall
at
the
bottom
of
the
slope,
at
the
south
end
of
the
hall.
Trigger.
This
trap
activates
as
soon
as
the
door
lead—
ing
to
the
jester’s
coffin
is
Opened.
A
magic
portal
opens
at
the
northern
end
of
the
hallway
and
disgorges
an
enormous
steel
sphere,
which
hurtles
down
the
slope.
When
it
reaches
the
bottom
of
the
slope,
a
second
portal
i
i
l
1
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E:
1‘:
C,”
[11.
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17
t.
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-
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up}.
.-.-
2".-
.\-i
.-\.
an;
as
"torus
briefly
appears
and
teleports
the
sphere
back
to
the
top
of
the
slope
to
begin
the
process
again.
Initiative.
The
trap
acts
on
initiative
count
10
(but
see
the
dynamic
element
below).
Active
Element.
Although
the
trap
is
complex
in
na
ture,
it
has
a
single
active
element.
That's
all
it
needs.
Sphere
of
Crushing
Doom
(Initiative
10).
The
trap’s
active
element
is
a
sphere
of
steel
that
almost
fills
the
10-foot
width
of
the
hallway
and
rolls
to
the
bottom
of
the
slope
on
its
turn.
Each
creature
in
the
sphere’s
path
must
make
a
DC
20
Strength
saving
throw.
On
a
failed
save,
a
creature
takes
22
(4l)
bludgeoning
damage
and
is
knocked
prone.
On
a
successful
save,
a
creature
takes
half
as
much
damage
and
isn’t
knocked
prone.
Objects
that
block
the
sphere,
such
as
a
conjured
wall,
take
maximum
damage
from
the
impact.
Dynamic
Element.
The
longer
it
rolls,
the
more
lethal
the
sphere
becomes.
Speed
Kills.
After
its
turn,
the
sphere
gains
speed,
represented
by
its
damage
increasing
by
11
(2l).
While
its
damage
is
55
(10d10)
or
greater,
it
acts
on
initiative
count
20
and
10.
Countermeasures.
The
trap
can
be
neutralized
either
by
stopping
the
sphere
or
preventing
it
from
teleporting.
Stop
the
Sphere.
Stopping
the
sphere
is
the
easiest
way
to
disrupt
the
trap.
A
wall
of
force
can
do
so
easily,
as
can
any
object
placed
in
its
path
that
has
enough
hit
points
to
absorb
damage
from
the
sphere
without
being
destroyed.
Disrupt
the
Portals.
Either
portal
can
be
neutralized
with
three
successful
DC
20
Intelligence
(Arcana)
checks,
but
the
process
of
analyzing
a
portal
to
disrupt
it
takes
time.
Faint
runes
in
the
ceiling
and
floor
at
both
ends
of
the
hallway
are
involved
in
the
functioning
of
the
portals.
A
creature
must
first
use
an
action
to
examine
a
set
of
runes,
then
use
a
subsequent
action
to
attempt
to
vandalize
the
runes.
Each
successful
check
reduces
the
sphere’s
damage
by
11
(2d10),
as
the
disrupted
sphere
loses
speed
moving
through
the
failing
portal.
Alternatively,
a
set
of
runes
can
be
disabled
with
three
successful
castings
of
dispel
magic
(DC
19)
targeting
any
of
the
runes
in
the
set.
If
the
southern
portal
is
destroyed,
the
sphere
slams
into
the
south
wall
and
comes
to
a
halt.
It
blocks
the
door
to
the
tomb,
but
the
characters
can
escape.
POISONED
TEMPEST
Compile};
trap
(level
11—16,
deadly
threat)
This
fiendish
trap
was
built
to
eliminate
intruders
who
infiltrate
a
yuan—ti
temple.
The
trap
is
a
room,
60
feet
on
a
side,
with
5-foot—wide
stone
doors
in
the
middle
of
each
wall.
In
each
corner
of
the
room
stands
a
10-foot
tall
statue
of
a
great
serpent,
coiled
and
ready
to
strike.
The
eyes
in
each
statue
are
rubies
worth
200
gp
apiece.
Trigger.
This
trap
activates
when
a
ruby
is
pried
from
one
of
the
statues.
Each
statue’s
mouth
slides
open,
re-
vealing
a
1~foot-wide
pipe
that
runs
down
its
throat.
if.
it
-‘*.
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i
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ii
iii")
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.-'-.
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['1
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I:
i,
2‘3
Initiative.
The
trap
acts
on
initiative
count
20
and
ini-
tiative
count
10.
Active
Elements.
The
trap
fills
the
room
with
poison
and
other
deadly
effects.
Locked
Doors
(Initiative
20).
The
four
doors
to
this
room
slam
shut
and
are
locked
in
place
by
magic.
This
effect
activates
only
once,
the
first
time
the
trap
is
triggered.
Poison
Gas
(Initiative
20).
Poison
gas
floods
the
room.
Each
creature
inside
must
make
a
DC
20
Constitution
saving
throw,
taking
33
(6d
10)
poison
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
Tempest
(Initiative
10).
Air
and
gas
boils
from
the
trap.
Roll
a
d6,
and
consult
the
following
table.
TEM
PEST
EFFECTS
d6
Effect
1
Hallucinatory
gas
scrambles
the
mind
and
senses.
All
Intelligence
and
Wisdom
checks
made
in
the
room
have
disadvantage
until
the
Tempest
element
activates
again.
2
Explosive
gas
fills
the
area.
lfanyone
holds
an
open
flame,
it
causes
an
explosion.
All
creatures
in
the
area
must
make
a
DC
20
Dexterity
saving
throw,
taking
22
(4l)
fire
damage
on
a
failed
save,
or
halfas
much
damage
on
a
successful
one.
The
flame
is
then
extinguished.
3
Weakening
gas
fills
the
room.
All
Strength
and
Dex-
terity
checks
made
in
the
room
have
disadvantage
until
the
Tempest
element
activates
again.
4
Buffeting
winds
force
each
creature
in
the
room
to
succeed
on
a
DC
20
Strength
saving
throw
or
be
knocked
prone.
5
Smoke
fills
the
room.
Visibility
is
reduced
to
1
foot
until
the
next
time
the
Tempest
element
activates.
6
Poison
floods
the
room,
forcing
creatures
to
make
saving
throws
as
for
the
Poison
Gas
element.
Dynamic
Element.
The
longer
the
poison
gas
re-
mains
in
the
room,
the
more
lethal
it
becomes.
Increased
Potency.
The
damage
from
the
Poison
Gas
element
increases
by
11
(2l)
each
round
after
it
activates,
to
a
maximum
of
55
(10d10).
Countermeasures.
There
are
a
few
ways
that
the
trap
can
be
overcome.
Open
the
Doors.
Opening
the
doors
is
the
quickest
way
to
circumvent
the
trap,
but
they
are
warded
with
magic.
To
open
the
doors,
a
character
must
first
succeed
on
a
DC
20
Wisdom
(Perception)
check
to
find
the
locking
mechanism.
A
successful
DC
20
In-
telligence
(Arcana)
check
is
then
required
to
disable
the
sphere
of
force
that
surrounds
the
lock
(diapei
magic
is
ineffective
against
it).
Success
on
a
DC
20
Dexterity
check
using
thieves’
tools
picks
the
lock.
Finally,
a
successful
DC
20
Strength
(Athletics)
check
is
needed
to
push
the
door
open.
Each
check
requires
an
action.
Disable
the
Statues.
A
statue
can
be
disabled
by
blocking
the
flow
of
gas
from
its
mouth.
Heavily
damaging
a
statue
is
a
bad
idea,
for
doing
so
leaves
the
gas
vents
open.
Reducing
a
statue
to
0
hit
points
(AC
17;
20
hp;
resistance
to
fire,
piercing,
and
slashing
damage;
immune
to
poison
and
psychic
damage)
or
making
a
successful
DC
20
Strength
check
to
break
it
cracks
the
statue
and
increases
the
Poison
Gas
damage
by
5
(1l).
A
successful
DC
20
Dexterity
check
using
thieves’
tools,
or
a
successful
DC
15
Strength
check
made
to
block
up
the
statue
with
a
cloak
or
similar
object,
decreases
the
poison
damage
by
5
(1d10).
Once
a
character
succeeds
on
the
check,
someone
must
remain
next
to
the
statue
to
keep
it
blocked
up.
When
all
four
statues
are
blocked
in
this
manner,
the
trap
deactivates.
DESIGNING
COMPLEX
TRAPS
Creating
a
complex
trap
takes
more
work
than
building
a
simple
one,
but
with
some
practice,
you
can
learn
the
process
and
make
it
move
quickly.
Familiarize
yourself
with
the
advice
on
designing
a
simple
trap
before
proceeding
with
the
guidelines
on
complex
traps.
PURPOSE
Complex
traps
are
typically
designed
to
protect
an
area
by
killing
or
disabling
intruders.
It
is
worth
your
time
to
consider
who
made
the
trap,
the
trap’s
purpose,
and
its
desired
result.
Does
the
trap
protect
a
treasure?
Does
it
target
only
certain
kinds
of
intruders?
LEVEL
AND
LETHALITY
Complex
traps
use
the
same
level
designations
and
lethality
descriptors
that
simple
traps
do.
Refer
to
that
section
for
a
discussion
of
how
level
and
lethality
help
determine
saving
throw
and
check
DCs,
attack
bonuses,
and
other
numerical
elements
of
a
complex
trap.
MAP
A
complex
trap
has
multiple
parts,
typically
relies
on
the
characters’
positions
to
resolve
some
of
its
effects,
and
can
bring
several
effects
to
bear
in
each
round.
The
traps
are
called
complex
for
a
reason!
To
begin
the
design
process,
consider
drawing
a
map
of
the
area
to
be
affected
by
the
trap
on
graph
paper,
using
a
scale
of
5
feet
per
square.
This
level
of
detail
allows
you
to
develop
a
clear
idea
of
what
the
trap
can
do
and
how
each
of
its
parts
interact.
Your
map
is
the
starting
point
and
context
for
the
rest
of
the
design
process.
Don’t
limit
yourself
to
one
room.
Look
at
the
passages
and
rooms
around
the
area
of
the
trap
and
think
about
the
role
they
can
play.
The
trap
might
cause
doors
to
lock
and
barriers
to
fall
into
place
to
prevent
escape.
It
could
cause
darts
to
fire
from
the
walls
in
one
area,
forcing
characters
to
enter
rooms
where
other
devices
trigger
and
threaten
them.
Consider
how
terrain
and
furniture
can
add
to
the
traps
danger.
A
chasm
or
a
pit
might
create
a
buffer
that
allows
a
trap
to
send
bolts
of
magic
at
the
characters,
while
making
it
difficult
or
even
impossible
for
them
to
reach
the
runes
they
must
deface
to
foil
that
attack.
Think
of
your
map
like
a
script.
Where
do
the
charac‘
ters
want
to
go?
What
does
the
trap
protect?
How
can
the
characters
get
there?
What
are
their
likely
escape
routes?
Answering
these
questions
tells
you
where
the
trap’s
various
elements
should
be
placed.
ACTIVE
ELEMENTS
A
complex
trap’s
active
elements
work
the
same
way
as
a
simple
trap’s
effects,
except
that
a
complex
trap
acti—
vates
in
every
round.
Otherwise,
the
guidelines
for
pick-
ing
saving
throw
DCs,
attack
bonuses,
and
damage
are
the
same.
To
make
your
trap
logically
consistent,
make
sure
the
elements
you
design
can
activate
each
round.
For
instance,
ordinary
crossbows
rigged
to
fire
at
the
characters
would
need
a
mechanism
for
reloading
them
between
attacks.
In
terms
of
lethality,
it’s
better
to
have
multiple
dan-
gerous
effects
in
a
trap
than
a
single
deadly
one.
For
example,
the
Path
of
Blades
trap
uses
two
dangerous
elements
and
one
moderate
element.
It’s
useful
to
create
multiple
active
elements,
with
each
affecting
a
different
area.
It‘s
also
a
good
idea
to
use
a
variety
of
effects.
Some
parts
of
the
trap
might
deal
damage,
and
others
might
immobilize
characters
or
isolate
them
from
the
rest
of
the
party.
A
bashing
lever
might
knock
characters
into
an
area
engulfed
by
jets
of
flame.
Think
about
how
the
elements
can
work
together.
CONSTANT
ELEMENTS
In
addition
to
the
active
steps
a
complex
trap
takes,
it
should
also
present
a
continual
hazard.
Often,
the
active
and
constant
effects
are
the
same
thing.
Imagine
a
hall-
way
filled
with
whirling
saw
blades.
On
the
trap’s
turn,
the
blades
attack
anyone
in
the
hall.
In
addition,
anyone
who
lingers
in
the
hallway
takes
damage
at
the
end
of
each
of
their
turns,
accounting
for
the
constant
threat
that
the
blades
pose.
A
constant
element
should
apply
its
effect
to
any
creature
that
ends
its
turn
in
that
element’s
area.
If
an
active
element
presents
a
threat
when
it
isn’t
the
traps
turn,
define
the
threat
it
poses
as
a
constant
element.
As
a
rule
of
thumb,
keep
the
saving
throw
DC
or
attack
bonus
the
same
as
for
the
active
element
but
reduce
the
damage
by
half.
Avoid
filling
the
entire
encounter
area
with
constant
elements.
Part
of
the
challenge
of
a
complex
trap
lies
in
figuring
out
which
areas
are
safe.
A
moment’s
respite
can
help
add
an
element
of
pacing
to
an
encounter
with
a
complex
trap
and
give
the
characters
the
feeling
that
they
aren’t
in
constant
peril.
For
example,
walls
that
slam
together
might
need
to
reset
between
slams,
mak—
ing
them
harmless
when
it
isn’t
their
turn
to
act.
DYNAMIC
ELEMENTS
Just
as
a
battle
is
more
interesting
if
the
monsters
change
their
tactics
or
unveil
new
abilities
in
later
rounds,
so
too
are
complex
traps
more
fun
if
their
na-
ture
changes
in
some
way.
The
whirling
blades
that
protect
a
treasure
chest
do
more
damage
each
round
as
they
speed
up.
The
poison
gas
in
a
room
grows
thicker
as
more
of
it
floods
the
chamber,
dealing
greater
dam-
age
and
affecting
line
of
sight.
The
necrotic
aura
around
an
idol
of
Demogorgon
produces
random
effects
each
{
li.‘~.li"£_'l
l-l
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‘xlg‘tri'l'llit'fil
ltJHIfi
..
time
its
active
element
is
triggered.
As
water
floods
a
chamber,
the
characters
must
swim
across
areas
they
could
walk
through
just
a
round
or
two
earlier.
Since
a
complex
trap
remains
active
over
the
course
of
several
rounds,
it
might
be
possible
to
predict
its
future
behavior
by
examining
how
it
functions.
This
information
can
give
its
targets
a
much
better
chance
of
thwarting
it.
To
minimize
this
possibility,
design
your
trap
so
that
it
presents
multiple
threats
that
can
change
each
round.
The
changes
can
include
how
a
trap
targets
creatures
(different
attacks
or
saving
throws),
the
dam—
age
or
effects
it
produces,
the
areas
it
covers,
and
so
on.
Some
traps
might
have
a
random
effect
each
round,
while
others
follow
a
carefully
programmed
sequence
of
attacks.
Dynamic
elements
usually
occur
according
to
a
sched—
ule.
For
a
room
that
floods,
you
can
plan
out
how
the
rising
water
level
affects
the
area
each
round.
The
water
might
be
ankle
deep
at
the
end
of
the
first
round,
knee
deep
the
next,
and
so
on.
Not
only
does
the
water
bring
a
risk
of
drowning,
it
also
makes
it
harder
to
move
across
the
area.
On
the
other
hand,
the
rising
water
level
might
allow
characters
to
swim
to
the
upper
reaches
of
the
chamber
that
they
couldn’t
get
to
from
the
floor.
Dynamic
elements
can
also
come
into
play
in
reaction
to
the
characters’
actions.
Disarming
one
element
of
the
trap
might
make
the
others
deadlier.
Disabling
a
rune
that
triggers
a
fire-breathing
statue
might
cause
the
statue
to
explode.
Thiooexs
The
advice
on
triggers
given
for
simple
traps
also
ap—
plies
to
complex
traps,
with
one
exception.
Complex
traps
have
multiple
triggers,
or
are
designed
such
that
avoiding
a
trigger
prevents
intruders
from
reaching
the
area
the
trap
guards.
Other
complex
traps
use
magical
triggers
that
activate
on
specific
cues,
such
as
when
a
door
opens
or
someone
enters
an
area
without
wearing
the
correct
badge,
amulet,
or
robe.
Look
at
your
map
and
consider
when
you
want
the
trap
to
spring
into
action.
It’s
best
to
have
a
complex
trap
trigger
after
the
characters
have
committed
to
exploring
an
area.
A
simple
trap
might
activate
when
the
charac—
ters
open
a
door.
A
complex
trap
that
triggers
so
early
leaves
the
characters
still
outside
the
trapped
room,
in
a
place
where
they
could
decide
to
close
the
door
and
move
on.
A
simple
trap
aims
to
keep
intruders
out.
A
complex
trap
wants
to
lure
them
in,
so
that
when
it
acti-
vates,
the
intruders
must
deal
with
the
trap
before
they
can
escape.
The
trigger
for
a
complex
trap
should
be
as
foolproof
as
you
can
make
it.
A
complex
trap
represents
a
serious
expenditure
of
effort
and
magical
power.
No
one
builds
such
a
trap
and
makes
it
easy
to
avoid.
Wisdom
(Per-
ception)
and
Intelligence
(Investigation)
checks
might
be
unable
to
spot
a
trigger,
especially
a
magical
one,
but
they
can
still
give
hints
about
the
trap
before
it
triggers.
Bloodstains,
ashes,
gouges
in
the
floor,
and
other
clues
of
that
sort
can
serve
as
evidence
of
the
trap’s
presence.
INITIATIVE
A
complex
trap
acts
repeatedly,
but
unlike
characters
and
monsters,
traps
don’t
roll
for
initiative.
As
mechan~
ical
or
magical
devices,
their
active
elements
operate
in
a
periodic
manner.
When
designing
a
complex
trap,
you
need
to
decide
when
and
how
often
its
active
elements
produce
their
effects.
In
a
trap
with
multiple
active
elements
that
work
in
concert,
those
different
elements
would
act
on
different
initiative
counts.
For
instance,
on
initiative
count
20,
blades
sweep
across
a
treasure
vault,
driving
the
charac-
ters
back
into
the
hallway.
On
initiative
count
10,
magic
darts
fire
from
statues
in
the
hallway
while
a
portcullis
falls
to
confine
the
characters.
Initiative
10.
If
a
trap’s
active
element
takes
time
to
build
up
its
effects,
then
it
acts
on
initiative
count
10.
This
option
is
good
for
a
trap
that
functions
alongside
allied
monsters
or
other
guardians;
the
delay
before
it
acts
can
give
guards
the
chance
to
move
out
of
its
area
or
force
characters
into
the
area
before
the
trap
triggers.
Initiative
20.
If
an
element
is
designed
to
surprise
intruders
and
hit
them
before
they
can
react,
then
it
acts
on
initiative
count
20.
This
option
is
generally
best
for
a
complex
trap.
Think
of
it
as
the
default.
Such
a
trap
acts
quickly
enough
to
take
advantage
of
most
characters,
with
nimble
characters
like
rogues,
rangers,
and
monks
having
the
best
chance
to
move
out
of
the
area
before
the
element
activates.
Initiative
20
and
10.
Some
active
elements
are
in—
credibly
fast
acting,
laying
waste
to
intruders
in
a
few
moments
unless
countered.
They
act
on
initiative
count
20
and
10.
DEFEATING
COMPLEX
TRAPS
A
complex
trap
is
never
defeated
with
a
single
check.
In-
stead,
each
successful
check
foils
some
part
of
it
or
de—
grades
its
performance.
Each
element
of
the
trap
must
be
overcome
individually
to
defeat
the
trap
as
a
whole.
As
part
of
determining
how
your
trap
can
be
over-
come,
look
at
your
map
and
consider
where
the
charac—
ters
must
be
located
to
attempt
an
action
that
can
foil
part
of
the
trap.
As
a
rule,
the
characters
should
need
to
be
near
or
adjacent
to
an
element
to
have
a
chance
of
af-
fecting
it.
An
element
can
be
designed
so
that
it
protects
itself.
A
fighter
might
be
able
to
break
a
whirling
blade,
but
moving
close
enough
to
attack
it
requires
giving
the
blade
a
chance
to
strike.
What
methods
are
effective
against
your
trap?
Obvi—
ous
candidates
are
activities
covered
by
the
same
sorts
of
checks
used
to
defeat
simple
traps,
but
use
your
knowledge
of
the
trap’s
design
to
identify
other
options.
A
valve
that
leaks
poison
gas
into
a
room
can
be
stopped
up.
A
statue
that
emits
a
deadly
aura
can
be
pushed
over
and
smashed.
Attacks,
spells,
and
special
abilities
can
all
play
a
role
in
undermining
a
trap.
Leave
room
for
improvisation
by
the
characters.
Don’t
create
a
few
predetermined
solutions
and
wait
for
the
players
to
figure
out
the
right
approach.
If
you
under-
stand
the
mechanism
behind
how
a
trap
works,
that
makes
it
much
easier
for
you
to
respond
to
the
players’
ideas.
If
a
character
wants
to
try
something
you
haven’t
allowed
for,
pick
an
ability,
assess
the
chance
of
suc-
cess,
and
ask
for
a
roll.
Shutting
down
one
part
of
a
complex
trap
usually
requires
multiple
successes.
As
a
default,
it
takes
three
successful
checks
or
actions
to
disable
an
element.
The
first
successful
check
might
reduce
the
element’s
saving
throw
DC
or
attack
bonus.
The
second
successful
check
might
halve
the
element’s
damage,
and
the
final
suc—
cessful
check
shuts
it
down.
For
elements
that
don’t
attack,
allow
each
successful
check
to
reduce
that
element’s
effectiveness
by
one-
third.
A
lock’s
DC
is
decreased,
or
a
gate
opens
wide
enough
to
allow
a
Small
character
to
squeeze
through
it.
A
mechanism
pumping
poison
gas
into
the
room
be-
comes
defective,
causing
the
gas’s
damage
to
increase
more
slowly
or
not
at
all.
It
takes
time
to
disable
a
complex
trap.
Three
charac-
ters
can’t
make
checks
in
rapid
succession
to
disarm
a
complex
trap
in
a
matter
of
seconds.
Each
would
get
in
.1
4L
COMPLEX
TRAPS
AND
LEGENDARY
MONSTERS
A
complex
trap
is
like
a
legendary
monster
in
some
ways.
It
has
several
tricks
it
can
use
on
its
turn,
and
it
remains
a
threat
throughout
the
round,
not
just
on
its
turn.
The
trap"s
active
elements
are
like
a
legendary
creature’s
nor-
mal
actions,
and
its
constant
elements
are
equivalent
to
legendary
actions—except
they
are
tied
to
specific
areas
in
the
trapped
room.
Although
a
legendary
creature
can
move,
improvise
actions,
and
so
forth,
a
trap
is
set
to
a
specific
script—an
aspect
that
has
the
potential
to
make
a
complex
trap
stale
and
predictable.
That's
where
dynamic
elements
come
in.
They
keep
the
players
on
their
toes
and
make
dealing
with
a
complex
trap
feel
like
a
challenging,
evolving
situation.
another
character’s
way
and
disrupt
the
effort.
Once
a
character
succeeds
on
a
check,
another
character
can’t
attempt
the
same
check
against
the
same
trap
element
until
the
end
of
the
successful
character’s
next
turn.
Not
all
of
the
characters’
options
need
to
be
focused
on
stopping
a
trap
from
operating.
Think
of
what
charac-
ters
can
do
to
mitigate
or
avoid
a
trap’s
effects.
Making
the
trap
vulnerable
to
this
sort
of
effort
is
a
way
to
en-
gage
characters
who
might
be
ill—suited
to
confront
the
trap
directly.
A
successful
Intelligence
(Religion)
check
might
provide
insight
into
the
imagery
displayed
by
a
trap
in
a
temple
or
shrine,
giving
other
characters
a
clue
about
how
and
where
to
direct
their
efforts.
A
character
could
stand
in
front
of
a
dart
trap
while
holding
a
shield
that
the
darts
can
target
harmlessly,
while
other
charac-
ters
trigger
that
element
as
they
work
to
disable
it.
DOWNTIME
REVISITED
It’s
possible
for
the
characters
to
start
a
campaign
at
lst
level,
dive
into
an
epic
story,
and
reach
10th
level
and
beyond
in
a
short
amount
of
game
time.
Although
that
pace
works
fine
for
many
campaigns,
some
DMs
prefer
a
campaign
story
with
pauses
built
into
it—times
when
adventurers
are
not
going
on
adventures.
The
downtime
rules
given
in
this
section
can
be
used
as
alternatives
to
the
approach
in
the
Player’s
Handbook
and
the
Dungeon
Master’s
Guide,
or
you
can
use
the
material
here
to
in-
spire
the
creation
of
your
own
options.
By
engaging
the
characters
in
downtime
activities
that
take
weeks
or
even
months
to
complete,
you can
give
your
campaign
a
longer
time
line—one
in
which
events
in
the
world
play
out
over
years.
Wars
begin
and
end,
ty-
rants
come
and
go,
and
royal
lines
rise
and
fall
over
the
course
of
the
story
that
you
and
the
characters
tell.
Downtime
rules
also
provide
ways
for
characters
to
spend——or
be
relieved
of—the
monetary
treasure
they
amass
on
their
adventures.
The
system
presented
here
consists
of
two
elements.
First,
it
introduces
the
concept
of
rivals.
Second,
it
de—
tails
a
number
of
downtime
activities
that
characters
can
undertake.
RIVALS
Rivals
are
N
PCs
who
oppose
the
characters
and
make
their
presence
felt
whenever
the
characters
are
engag-
ing
in
downtime.
A
rival
might
be
a
villain
you
have
featured
in
past
adventures
or
plan
to
use
in
the
future.
Rivals
can
also
include
good
or
neutral
folk
who
are
at
odds
with‘the
characters,
whether
because
they
have
opposing
goals
or
they
simply
dislike
one
another.
The
cultist
of
Orcus
whose
plans
the
characters
have
foiled,
the
ambitious
merchant
prince
who
wants
to
rule
the
city
with
an
iron
fist,
and
the
nosy
high
priest
of
Helm
who
is
convinced
the
characters
are
up
to
no
good
are
all
examples
of
rivals.
A
rival’s
agenda
changes
over
time.
Though
the
char—
acters
engage
in
downtime
only
between
adventures,
their
rivals
rarely
rest,
continuing
to
spin
plots
and
work
against
the
characters
even
when
the
characters
are
off
doing
something
else.
CREATING
A
RIVAL
In
essence,
a
rival
is
a
somewhat
specialized
NPC.
You
can
use
chapter
4
of
the
Dungeon
Master’s
Guide
to
build
a
new
NPC
for
this
purpose,
or
pick
one
from
your
current
cast
of
supporting
characters
and
embellish
that
NPC
as
described
below.
It’s
possible
for
the
characters
to
have
two
or
three
ri-
vals
at
a
time,
each
with
a
separate
agenda.
At
least
one
should
be
a
villain,
but
the
others
might
be
neutral
or
good;
conflicts
with
those
rivals
might
be
social
or
politi—
cal,
rather
than
manifesting
as
direct
attacks.
The
best
rivals
have
a
connection
with
their
adver—
saries
on
a
personal
level.
Find
links
in
the
characters’
backstories
or
the
events
of
recent
adventures
that
explain
what
sparked
the
rival’s
actions.
The
best
trou-
ble
to
put
the
characters
in
is
trouble
they
created
for
themselves.
EXAMPLE
RIVALS
dZO
Rival
1
Tax
collector
who
is
convinced
the
characters
are
dodging
fees
2
Politician
who
is
concerned
that
the
characters
are
causing
more
trouble
than
they
solve
3
High
priest
who
worries
the
characters
are
dimin-
ishing
the
temple’s
prestige
4
Wizard
who
blames
the
characters
for
some
recent
troubles
Rival
adventuring
party
Bard
who
loves
a
scandal
enough
to
spark
one
Childhood
rival
or
member
ofa
rival
clan
Scorned
sibling
or
parent
£000m
Merchant
who
blames
the
characters
for
any
busi-
ness
woes
1O
Newcomer
out
to
make
a
mark
on
the
world
11
Sibling
or
ally
ofdefeated
enemy
12
Official
seeking
to
restore
a
tarnished
reputation
13
Deadly
foe
disguised
as
a
social
rival
14
Fiend
seeking
to
tempt
the
characters
to
evil
15
Spurned
romantic
interest
16
Political
opportunist
seeking
a
scapegoat
17
Traitorous
noble
looking
to
foment
a
revolution
18
Would-be
tyrant
who
brooks
no
opposition
19
Exiled
noble
looking
for
revenge
20
Corrupt
official
worried
that
recent
misdeeds
will
be
revealed
To
add
the
right
amount
of
detail
to
a
rival
you
want
to
create,
give
some
thought
to
what
that
NFC
is
trying
to
accomplish
and
what
resources
and
methods
the
rival
can
bring
to
bear
against
the
characters.
Goals.
An
effective
rival
has
a
clear
reason
for
inter-
fering
with
the
characters’
lives.
Think
about
what
the
rival
wants,
how
and
why
the
characters
stand
in
the
way,
and
how
the
conflict
could
be
resolved.
Ideally,
a
rival’s
goal
directly
involves
the
characters
or
something
they
care
about.
f_lll."’.l"’l’l_”i\:
L’.
i
[liif‘villai’if‘i
"xl..‘i_i‘~;'l'l'i3'."~i
ltd-filth
Assets.
Think
about
the
resources
the
rival
can
mar-
shal.
Does
the
character
have
enough
money
to
pay
bribes
or
to
hire
a
small
gang
of
mercenaries?
Does
the
rival
hold
sway
over
any
guilds,
temples,
or
other
groups?
Make
a
list
of
the
rival’s
assets,
and
consider
how
they
can
be
used.
Plans.
The
foundation
of
a
rival’s
presence
in
the
campaign
is
the
actions
the
rival
takes
or
the
events
that
occur
as
a
result
of
that
character’s
goals.
Each
time
you
resolve
one
or
more
workweeks
of
downtime,
pick
one
of
the
ways
a
rival’s
plans
might
be
advanced
and
intro-
duce
it
into
play.
Think
about
how
a
rival
might
operate
in
order
to
bring
specific
plans
to
fruition,
and
jot
down
three
or
four
kinds
of
actions
the
rival
might
undertake.
Some
of
these
might
be
versions
of
the
downtime
activities
described
later
in
this
section,
but
these
are
more
often
efforts
that
are
specific
to
the
rival.
A
rival’s
action
might
be
a
direct
attack,
such
as
an
as—
sassination
attempt,
that
you
play
out
during
a
session.
Or
it
might
be
a
background
activity
that
you
describe
as
altering
the
campaign
in
some
way.
For
example,
a
rival
who
wants
to
increase
the
prestige
of
the
temple
of
a
war
god
might
hold
a
festival
with
drink,
food,
and
gladiatorial
games.
Even
if
the
characters
aren’t
directly
involved,
the
event
becomes
the
talk
of
the
town.
Some
elements
of
a
rival’s
plans
might
involve
events
in
the
world
that
aren’t
under
the
rival’s
control.
Whether
such
an
event
can
be
easily
anticipated
or
not,
the
rival’s
plans
might
include
contingencies
for
taking
advantage
of
such
happenings.
EXAMPLE
RIVAL:
MARINA
RODEMUS
The
Rodemus
clan
was
a
small
but
powerful
family
of
traders
in
the
city,
but
years
ago,
they
pulled
up
stakes
and
left
town
overnight.
Marina
Rodemus,
the
youngest
child,
has
now
returned
to
restore
her
family’s
prestige.
In
truth,
the
family
fled
because
its
members
became
afflicted
by
lycanthropy.
They
joined
a
clan
of
wererats
and
delved
into
smuggling
in
a
distant
city,
out
of
fear
that
their
secret
would
be
impossible
to
keep
in
their
former
home.
After
fighting
her
way
to
the
top
ranks
of
the
wererat
clans,
Marina—along
with
a
small
army
of
followers—has
returned
to
claim
her
place
among
the
elite
of
her
home
city.
She
vows
that
if
she
doesn’t
suc-
ceed,
she’ll
leave
the
city
in
ruins.
Goals.
Marina
wants
to
become
the
most
respected,
most
important
merchant
in
town—someone
to
whom
even
the
prince
must
yield.
Assets.
Marina
has
a
small
fortune
in
gold;
her
abili-
ties
as
a
wererat,
alchemist,
and
necromancer;
a
group
of
wererats
dedicated
to
her;
and
a
shield
guardian
that
protects
her.
Plans.
Marina
works
to
discredit
and
ruin
other
mer—
chants.
Her
wererats
spy
on
her
opponents
and
sneak
into
warehouses,
unleashing
hordes
of
rats
to
spoil
goods.
Marina
even
victimizes
a
few
of
her
own
ware-
houses
to
avoid
suspicion.
If
Marina’s
plans
fail,
she
has
a
terrible
alternative.
Her
knowledge
of
alchemy
has
enabled
her
to
create
a
plague
that
she
will
unleash
on
the
city
through
her
rats.
If
she
can’t
rule,
then
no
one
will.
MARINA’S
PLANS
Element
Description
Event
Rats
become
a
noticeable
problem
in
the
streets,
with
swarms
sighted
in
rundown
neighborhoods.
Folk
demand
that
action
be
taken.
Caravan
raids
by
goblinoids
become
more
com—
mon,
and
folk
talk
ofgathering
a
militia.
Marina
Action
contributes
generously
to
the
effort.
Warehouses
are
overrun
with
rats,
ruining
thou-
sands
of
gold
pieces
worth
ofgoods.
Marina
blames
the
city
for
a
lax
effort
in
pest
control.
Action
Action
Ifthe
characters
interfere,
Marina
sends
her
as-
sassins
against
them.
Event
A
sudden
storm
creates
minor
flooding,
washing
dozens
ofdead,
bloated,
diseased
rats
from
the
sewers.
Terror
over
the
plague
rips
through
town.
Marina
fans
the
flames
of
panic,
spreading
ru-
mors
that
the
characters
or
other
rivals
in
town
Action
are
responsible
for
the
disease.
EXAMPLE
RIVAL:
HIGH
PRIEST
CHELDAR
The
temple
of
Pholtus,
god
of
the
sun,
seeks
to
bring
as
many
folk
as
possible
under
its
sway.
Though
it
has
been
in
town
for
only
two
years,
the
temple
is
already
an
influential
force
because
of
the
determination
and
the
brilliant
oration
of
Cheldar,
its
high
priest.
Goals.
Cheldar
wants
to
make
the
temple
of
Pholtus
the
most
popular
religion
in
town
by
bringing
about
peace
and
security
for
all.
He
believes
keeping
adventur-
ers
in
check
or
driving
them
out
of
town
is
an
important
step
in
that
plan.
Assets.
The
charismatic
high
priest
has
his
oratory
skill,
divine
spellcasting
ability,
and
a
few
hundred
com-
mon
folk
recently
converted
to
the
temples
cause.
Plans.
Cheldar
is
stern
but
fundamentally
a
good
per-
son.
He
tries
to
win
support
by
providing
charity,
pro-
moting
peace,
and
working
to
enforce
law
and
order.
He
is
skeptical
of
the
characters,
however,
convinced
that
they
are
troublemakers
who
will
undermine
the
peace.
He
wants
only
officials
of
the
town
or
the
temple
to
be
involved
in
handling
any
crises
that
arise.
He
strongly
believes
in
his
goals,
yet
he
might
still
be
made
into
an
ally
by
good-hearted
characters.
bill/run.
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CHELDAR’s
PLANS
Element
Description
Event
The
grand
festival
of
Pholtus
fills
the
streets
with
somber
worshipers,
who
maintain
a
day-
long
torchlit
vigil.
They
offer
food,
drink,
and
shelter
to
all
in
the
temple
of
Pholtus.
Action
Cheldar,
along
with
a
small
group
offollowers,
appears
in
a
tavern
frequented
by
adventurers
and
seeks
converts.
A
few
NPC
adventurers
join
his
cause.
Action
In
a
public
address
in
the
town
square,
Cheldar
rails
against
the
forces
ofchaos,
laying
blame
for
recent
troubles
on
adventurers
who
are
med-
dling
in
things
best
left
alone.
Event
The
characters
find
that
all
adventurers
in
town
receive
an
icy
reception
at
best.
Action
Cheldar
demands
that
the
city
levy
enormous
taxes
on
adventurers,
claiming
that
they
must
pay
their
fair
share
to
keep
the
city
safe.
DOWNTIME
ACTIVITIES
Downtime
activities
are
tasks
that
usually
take
a
work-
week
(5
days)
or
longer
to
perform.
These
tasks
can
in—
clude
buying
or
creating
magic
items,
pulling
off
crimes,
and
working
at
a
job.
A
character
selects
a
downtime
activity
from
among
those
available
and
pays
the
cost
ofthat
activity
in
time
and
money.
You,
as
DM,
then
fol-
low
the
rules
for
the
activity
to
resolve
it,
informing
the
player
of
the
results
and
any
complications
that
ensue.
Consider
handling
downtime
away
from
the
game
table.
For
example,
you
could
have
the
players
pick
their
downtime
activities
at
the
end
of
a
session,
and
then
communicate
about
them
by
email
or
text,
until
you
next
see
them
in
person.
RESOLVING
ACTIVITIES
The
description
of
each
activity
tells
you
how
to
resolve
it.
Many
activities
require
an
ability
check,
so
be
sure
to
note
the
character’s
relevant
ability
modifiers.
Follow
the
steps
in
the
activity,
and
determine
the
results.
Most
downtime
activities
require
a
workweek
(5
days)
to
complete.
Some
activities
require
days,
weeks
(7
days),
or
months
(30
days).
A
character
must
spend
at
least
8
hours
of
each
day
engaged
in
the
downtime
activ-
ity
for
that
day
to
count
toward
the
activity’s
completion.
The
days
of
an
activity
don’t
need
to
be
consecutive;
you
can
spread
them
over
a
longer
period
of
time
than
is
required
for
the
activity.
But
that
period
of
time
should
be
no
more
than
twice
as
long
as
the
required
time;
otherwise
you
should
introduce
extra
complications
(see
below)
and
possibly
double
the
activity’s
costs
to
repre—
sent
the
inefficiency
of
the
character’s
progress.
COMPLICATIONS
The
description
of
each
activity
includes
a
discussion
of
complications
you
can
throw
at
the
characters.
The
consequences
of
a
complication
might
spawn
entire
adventures,
introduce
NPCs
to
vex
the
party,
or
give
the
characters
headaches
or
advantages
in
any
number
of
other
ways.
i
I
i
l
s“.
i""i"i-'
i".
1'!
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iii
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iii
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.
'
I.
BUYING
MAGIC
ITEMS
i
E
Check
‘
E
Total
Items
Acquired
'
I—S
Roll
ld6
times
on
Magic
Item
Table
A.
Each
of
these
sections
has
a
table
that
offers
possible
540
R0“
Id4
times
on
Magic
Item
Table
3_
i
complications.
You
can
roll
to
determine
a
complication
“45
R0“
Id4
times
on
Magic
Item
Table
C.
;
.
t
.
,
randomly,
pick
one
from
he
table,
or
devrse
one
of
your
16—20
R0”
Id4
times
on
Magic
Item
Table
D.
E E
own,
and
then
share
it
with
the
player.
_
-
21—25
Roll
ld4
times
on
MagIc
Item
Table
E.
EXAMPLE
DOWNTIME
ACTIVITIES
26—30
Roll
Id4
times
on
Magic
Item
Table
F.
E'
The
following
activities
are
suitable
for
any
character
31-35
R0”
M4
times
on
Magic
Item
Table
6‘
36—40
Roll
ld4
times
on
Magic
Item
Table
H.
l
5
l
who
can
afford
to
pursue
them.
As
DM,
you
have
the
l
final
say
on
which
activities
are
available
to
the
char-
4l+
R0“
ld4
times
0”
Magic
Item
Table
[-
.
acters.
The
activities
you
allow
might
depend
on
the
E
nature
of
the
area
where
the
characters
are
located.
For
E
example,
you
might
disallow
the
creation
of
magic
items
MAGIC
ITEM
PRICE
l
or
decide
that
the
characters
are
in
a
town
that
is
too
Rarity
ASking
Price-'1'
E E
isolated
from
major
markets
for
them
to
buy
such
items.
Common
(“H5
+
l)
X
IO
gP
;
Uncommon
ld6><100
gp
,
BUYING
A
MAGIC
ITEM
Rare
2dIO
X
1,000
gp
'
Very
rare
(id-4
+1)
x10,000
gp
seek
out
and
contact
people
willing
to
sell
items.
Even
Legendary
2d6
x
25,000
gp
then,
there
is
no
guarantee
a
seller
will
have
the
items
a
character
desires.
Resources.
Finding
magic
items
to
purchase
requires
.
at
least
one
workweek
of
effort
and
100
gp
in
expenses.
E
Spending
more
time
and
money
increases
your
chance
of
finding
a
high-quality
item.
.
Resolution.
A
character
seeking
to
buy
a
magic
item
I
l
makes
a
Charisma
(Persuasion)
check
to
determine
E;
the
quality
of
the
seller
found.
The
Character
gains
a
I
+1
bonus
on
the
check
for
every
workweek
beyond
the
*Halved
for
a
consumable
item
like
a
potion
or
scroll
Complications.
The.
magic
item
trade
is
fraught
with
peril.
The
large
sums
of
money
involved
and
the
power
offered
by
magic
items
attract
thieves,
con
artists,
and
other
villains.
If
you
want
to
make
things
more
interest"
ing
for
the
characters,
roll
on
the
Magic
Item
Purchase
Complications
table
or
invent
your
own
complication.
E
E?
;
Purchasing
a
magic
item
requires
time
and
money
to
|
l.
t
|
|
MAGIC
ITEM
PURCHASE
COMPLICATIONS
|
l
first
that
is
spent
seeking
a
seller
and
a
+1
bonus
for
l
d12
Complication
|
e
every
additional
100
gp
spent
on
the
search,
up
to
a
E
maximum
bonus
of
+10.
The
monetary
cost
includes
E
a
wealthy
lifestyle,
for
a
buyer
must
impress
potential
business
partners.
As
shown
on
the
Buying
Magic
Items
table,
the
total
of
,
the
check
dictates
which
table
in
the
Dungeon
Masters
E
Guide
to
roll
on
to
determine
which
items
are
on
the
5
market.
Or
you
can
roll
for
items
from
any
table
associ-
The
item
is
a
fake,
planted
by
an
enemy?“
The
item
is
stolen
by
the
party’s
enemies}?
The
item
is
cursed
by
a
god.
AwN—I
The
item's
original
owner
will
kill
to
reclaim
it;
the
party’s
enemies
spread
news
of
its
sales“
The
item
is
at
the
center
ofa
dark
prophecy.
ated
with
a
lower
total
on
the
Buying
Magic
Items
table.
As
a
further
option
to
reflect
the
availability
of
items
in
your
campaign,
you
can
apply
a
-10
penalty
for
low
magic
campaigns
or
a
+1.0
bonus
for
high
magic
cam-
5
6
The
seller
is
murdered
before
the
sale."~‘
7
The
seller
is
a
devil
looking
to
make
a
bargain.
8
The
item
is
the
key
to
freeing
an
evil
entity.
9
A
third
party
bids
on
the
item,
doubling
its
price.*
val
_.
paigns.
Furthermore,
you
can
double
magic
item
costs
:
-
in
low
magic
campaigns
10
The
item
is
an
enslaved,
intelligent
entity.
-
_
Using
the
Magic
Item
Price
table,
you
then
assign
H
The
'tem
'5
“ad
to
at
CU”-
|
'
;
prices
to
the
available
items,
based
on
their
rarity.
12
The
Party's
enemies
spread
rumors
that
the
item
.5
!
Halve
the
price
of
any
consumable
item,
such
as
a
po-
an
artifact
Of
EVil-‘i
tion
or
a
scroll,
when
using
the
table
to
determine
an
asking
price.
E
E'}
You
have
final
say
in
determining
which
items
are
for
.
sale
and
their
final
price,
no
matter
what
the
tables
say.
'1‘
i
If
the
characters
seek
a
specific
magic
item,
first
E
i
decide
if
it’s
an
item
you
want
to
allow
in
your
game.
If
'
so,
include
the
desired
item
among
the
items
for
sale
1
l
.
_
on
a
check
total
of
10
or
higher
if
the
item
is
common,
"
"
lg
.
15
or
higher
if
it
is
uncommon,
20
or
higher
if
it
is
rare,
*Might
involve
a
rival
CAROU
SING
Carousing
is
a
default
downtime
activity
for
many
char—
acters.
Between
adventures,
who
doesn’t
want
to
relax
with
a
few
drinks
and
a
group
of
friends
at
a
tavern?
Resources.
Carousing
covers
a
workweek
of
fine
food,
strong
drink,
and
socializing.
A
character
can
at—
L
_
,K
tempt
to
carouse
among
lower-,
middle,
or
upper—class
E
"if“!
_
25
01'
higher
if
it
is
very
ram:
and
30
01"
higher
if
it
is
folk.
A
character
can
carouse
with
the
lower
class
for
I
legendary.
10
gp
to
cover
expenses,
or
50
gp
for
the
middle
class.
'EnE.
("ii-‘1
F'lii
i1
'_‘
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i.ill\:i‘3[-i-i.“¥
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o
M.
-,
Carousing
with
the
upper
class
requires
250
gp
for
the
workweek
and
access
to
the
local
nobility.
A
character
with
the
noble
background
can
mingle
with
the
upper
class,
but
other
characters
can
do
so
only
if
you
judge
that
the
character
has
made
sufficient
con-
tacts.
Alternatively,
a
character
might
use
a
disguise
kit
and
the
Deception
skill
to
pass
as
a
noble
visiting
from
a
distant
city.
Resolution.
After
a
workweek
of
carousing,
a
charac-
ter
stands
to
make
contacts
within
the
selected
social
class.
The
character
makes
a
Charisma
(Persuasion)
check
using
the
Carousing
table.
CAROUSING
Check
Total
Result
1—5
Character
has
made
a
hostile
contact.
6—40
Character
has
made
no
new
contacts.
11—15
Character
has
made
an
allied
contact.
16—20
Character
has
made
two
allied
contacts.
21+
Character
has
made
three
allied
contacts.
Contacts
are
NPCs
who
now
share
a
bond
with
the
character.
Each
one
either
owes
the
character
a
favor
or
has
some
reason
to
bear
a
grudge.
A
hostile
contact
works
against
the
character,
placing
obstacles
but
stop—
ping
short
of
committing
a
crime
or
a
violent
act.
Allied
contacts
are
friends
who
will
render
aid
to
the
character,
but
not
at
the
risk
of
their
lives.
.
-1T.=:-
I
I
'
"
-
.I.
I
"
_
. " " I I
f
'-‘
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h
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P
Lower—class
contacts
include
criminals,
laborers,
mercenaries,
the
town
guard,
and
any
other
folk
who
normally
frequent
the
cheapest
taverns
in
town.
Middle-class
contacts
include
guild
members,
spell-
casters,
town
officials,
and
other
folk
who
frequent
well—
kept
establishments.
Upper-class
contacts
are
nobles
and
their
personal
servants.
Carousing
with
such
folk
covers
formal
ban~
quets,
state
dinners,
and
the
like.
Once
a
contact
has
helped
or
hindered
a
character,
the
character
needs
to
carouse
again
to
get
back
into
the
N
PC’s
good
graces.
A
contact
provides
help
once,
not
help
for
life.
The
contact
remains
friendly,
which
can
in-
fluence
roleplaying
and
how
the
characters
interact
with
them,
but
doesn’t
come
with
a
guarantee
of
help.
You
can
assign
specific
N
PCs
as
contacts.
You
might
decide
that
the
barkeep
at
the
Wretched
Gorgon
and
a
guard
stationed
at
the
western
gate
are
the
charac-
ter’s
allied
contacts.
Assigning
specific
NPCs
gives
the
players
concrete
options.
It
brings
the
campaign
to
life
and
seeds
the
area
with
N
PCs
that
the
characters
care
about.
On
the
other
hand,
it
can
prove
difficult
to
track
and
might
render
a
contact
useless
if
that
character
doesn’t
come
into
play.
Alternatively,
you
can
allow
the
player
to
make
an
NPC
into
a
contact
on
the
spot,
after
carousing.
When
the
characters
are
in
the
area
in
which
they
caroused,
a
player
can
expend
an
allied
contact
and
designate
an
NPC
they
meet
as
a
contact,
assuming
the
N
PC
is
of
the
correct
social
class
based
on
how
the
character
(TEL-ki‘i'lil-l
L3:
[il_ii'\.'(.£i-'t_‘ll.“~{
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l'tltiLb
.
{illv‘tl‘ilili
5'!
|
Di?i‘a‘l"1i."i_)i‘v.'
.\.l,-\f'i'i'l-'l':"'~l
caroused.
The
player
should
provide
a
reasonable
expla-
nation
for
this
relationship
and
work
it
into
the
game.
Using
a
mix
of
the
two
approaches
is
a
good
idea,
since
it
gives
you
the
added
depth
of
specific
contacts
while
giving
players
the
freedom
to
ensure
that
the
con—
tacts
they
accumulate
are
useful.
The
same
process
can
apply
to
hostile
contacts.
You
can
give
the
characters
a
specific
NPC
they
should
avoid,
or
you
might
introduce
one
at
an
inopportune
or
dramatic
moment.
At
any
time,
a
character
can
have
a
maximum
number
of
unspecified
allied
contacts
equal
to
1
+
the
character’s
Charisma
modifier
(minimum
of
1).
Specific,
named
contacts
don't
count
toward
this
limit—only
ones
that
can
be
used
at
any
time
to
declare
an
NPC
as
a
contact.
Complications.
Characters
who
carouse
risk
bar
brawls,
accumulating
a
cloud
of
nasty
rumors,
and
building
a
bad
reputation
around
town.
As
a
rule
of
thumb,
a
character
has
a
10
percent
chance
of
triggering
a
complication
for
each
workweek
of
carousing.
LOWER-CLASS
CAROUSING
COMPLICATIONS
d8
Complication
l
A
pickpocket
lifts
ldiO
x
5
gp
from
youi"
2
A
bar
brawl
leaves
you
with
a
scarfi'r
3
You
have
fuzzy
memories
ofdoing
something
very,
very
illegal,
but
can’t
remember
exactly
what.
4
You
are
banned
from
a
tavern
after
some
obnox-
ious
behavior."-’
5
After
a
few
drinks,
you
swore
in
the
town
square
to
pursue
a
dangerous
quest.
Surprise!
You’re
married.
Streaking
naked
through
the
streets
seemed
like
a
great
idea
at
the
time.
8
Everyone
is
calling
you
by
some
weird,
embarrass-
ing
nickname,
like
Puddle
Drinker
or
Bench
Slayer,
and
no
one
will
say
why?“
*Might
involve
a
rival
MIDDLE-CLASS
CAROUSING
COMPLICATIONS
d3
Complication
1
You
accidentally
insulted
a
guild
master,
and
only
a
public
apology
will
let
you
do
business
with
the
guild
again}?
2
You
swore
to
complete
some
quest
on
behalfofa
temple
or
a
guild.
A
social
gaffe
has
made
you
the
talk
ofthe
town.‘-'"
4
A
particularly
obnoxious
person
has
taken
an
in-
tense
romantic
interest
in
you.*
5
You
have
made
a
foe
out
ofa
local
spellcasterfi"
6
You
have
been
recruited
to
help
run
a
local
festival,
play,
or
similar
event.
7
You
made
a
drunken
toast
that
scandalized
the
locals.
8
You
spent
an
additional
100
gp
trying
to
impress
people.
*Might
involve
a
rival
liHH
“:1
T'_'"'——'
._
UPPER-CLASS
CAROUSING
COMPLICATIONS
d8
Complication
l
A
pushy
noble
family
wants
to
marry
off
one
of
their
scions
to
you?
2
You
tripped
and
fell
during
a
dance,
and
people
can’t
stop
talking
about
it.
3
You
have
agreed
to
take
on
a
noble’s
debts.
4
You
have
been
challenged
to
a
joust
by
a
knight?"
5
You
have
made
a
foe
out
ofa
local
noble?“
6
A
boring
noble
insists
you
visit
each
day
and
listen
to
long,
tedious
theories
of
magic.
7
You
have
become
the
target
ofa
variety
of
embar-
rassing
rumors"?
8
You
spent
an
additional
500
gp
trying
to
impress
people.
*Might
involve
a
rival
CRAFTING
AN
ITEM
A
character
who
has
the
time,
the
money,
and
the
needed
tools
can
use
downtime
to
craft
armor,
weapons,
clothing,
or
other
kinds
of
nonmagical
gear.
Resources
and
Resolution.
In
addition
to
the
appro—
priate
tools
for
the
item
to
be
crafted,
a
character
needs
raw
materials
worth
half
of
the
item’s
selling
cost.
To
determine
how
many
workweeks
it
takes
to
create
an
item,
divide
its
gold
piece
cost
by
50.
A
character
can
complete
multiple
items
in
a
workweek
if
the
items‘
com-
bined
cost
is
50
gp
or
lower.
Items
that
cost
more
than
50
gp
can
be
completed
over
longer
periods
of
time,
as
long
as
the
work
in
progress
is
stored
in
a
safe
location.
Multiple
characters
can
combine
their
efforts.
Divide
the
time
needed
to
create
an
item
by
the
number
of
char-
acters
working
on
it.
Use
your
judgment
when
determin-
ing
how
many
characters
can
collaborate
on
an
item.
A
particularly
tiny
item,
like
a
ring,
might
allow
only
one
or
two
workers,
whereas
a
large,
complex
item
might
allow
four
or
more
workers.
A
character
needs
to
be
proficient
with
the
tools
needed
to
craft
an
item
and
have
access
to
the
appro-
priate
equipment.
Everyone
who
collaborates
needs
to
have
the
appropriate
tool
proficiency.
You
need
to
make
any
judgment
calls
regarding
whether
a
character
has
the
correct
equipment.
The
following
table
provides
some
examples.
Proficiency
Items
Herbalism
kit
Leatherworker’s
tools
Antitoxin,
potion
ofheoling
Leather
armor,
boots
Smith’s
tools
Armor,
weapons
Weaver's
tools
Cloaks,
robes
If
all
the
above
requirements
are
met,
the
result
of
the
process
is
an
item
of
the
desired
sort.
A
character
can
sell
an
item
crafted
in
this
way
at
its
listed
price.
Crafting
Magic
Items.
Creating
a
magic
item
requires
more
than
just
time,
effort,
and
materials.
It
is
a
long—
term
process
that
involves
one
or
more
adventures
to
track
down
rare
materials
and
the
lore
needed
to
cre-
ate
the
item.
Potions
otheaiing
and
spell
scrolls
are
exceptions
to
the
following
rules.
For
more
information,
see
“Brewing
Potions
of
Healing"
later
in
this
section
and
the
“Scrib—
ing
a
Spell
Scroll”
section,
below.
To
start
with,
a
character
needs
a
formula
for
a
magic
item
in
order
to
create
it.
The
formula
is
like
a
recipe.
It
lists
the
materials
needed
and
steps
required
to
make
the
item.
An
item
invariably
requires
an
exotic
material
to
com-
plete
it.
This
material
can
range
from
the
skin
of
a
yeti
to
a
vial
of
water
taken
from
a
whirlpool
on
the
Elemental
Plane
of
Water.
Finding
that
material
should
take
place
as
part
of
an
adventure.
The
Magic
ltem
Ingredients
table
suggests
the
chal—
lenge
rating
of
a
creature
that
the
characters
need
to
face
to
acquire
the
materials
for
an
item.
Note
that
fac-
ing
a
creature
does
not
necessarily
mean
that
the
char—
acters
must
collect
items
from
its
corpse.
Rather,
the
creature
might
guard
a
location
or
a
resource
that
the
characters
need
access
to.
MAclc
ITEM
INGREDIENTS
Item
Rarity
CR
Range
Common
l-3
Uncommon
4—8
Rare
9-42
Very
rare
13—18
Legendary
19+
If
appropriate,
pick
a
monster
or
a
location
that
is
a
thematic
fit
for
the
item
to
be
crafted.
For
example,
cre—
ating
mariners
armor
might
require
the
essence
of
a
water
weird.
Crafting
a
stafi‘ofcharming
might
require
the
cooperation
of
a
specific
arcanaloth,
who
will
help
only
if
the
characters
complete
a
task
for
it.
Making
a
staffofpower
might
hinge
on
acquiring
a
piece
of
an
ancient
stone
that
was
once
touched
by
the
god
of
mag-
ic—a
stone
now
guarded
by
a
suspicious
androsphinx.
In
addition
to
facing
a
specific
creature,
creating
an
item
comes
with
a
gold
piece
cost
covering
other
mate-
rials,
tools,
and
so
on,
based
on
the
item’s
rarity.
Those
values,
as
well
as
the
time
a
character
needs
to
work
in
order
to
complete
the
item,
are
shown
on
the
Magic
Item
Crafting
Time
and
Cost
table.
Halve
the
listed
price
and
creation
time
for
any
consumable
items.
MAGIC
ITEM
CRAFTING
TIME
AND
COST
Item
Rarity
Workweeks'-"
Cost"‘
Common
1
50
gp
Uncommon
2
200
gp
Rare
10
2,000
gp
Very
rare
25
20,000
gp
Legendary
50
100,000
gp
*Halved
for
a
consumable
item
like
a
potion
or
scroll
To
complete
a
magic
item,
a
character
also
needs
whatever
too]
proficiency
is
appropriate,
as
for
crafting
a
nonmagical
object,
or
proficiency
in
the
Arcana
skill.
If
all
the
above
requirements
are
met,
the
result
of
the
process
is
a
magic
item
of
the
desired
sort.
Complications.
Most
of
the
complications
involved
in
creating
something,
especially
a
magic
item,
are
linked
to
the
difficulty
in
finding
rare
ingredients
or
compo-
nents
needed
to
complete
the
work.
The
complications
a
character
might
face
as
byproducts
of
the
creation
process
are
most
interesting
when
the
characters
are
working
on
a
magic
item:
there’s
a
10
percent
chance
for
every
five
workweeks
spent
on
crafting
an
item
that
a
complication
occurs.
The
Crafting
Complications
table
provides
examples
of
what
might
happen.
CRAFTING
COM
PLICATIONS
d6
Complication
1
Rumors
swirl
that
what
you’re
working
on
is
unsta-
ble
and
a
threat
to
the
community"
2
Your
tools
are
stolen,
forcing
you
to
buy
new
ones?"
3
A
local
wizard
shows
keen
interest
in
your
work
and
insists
on
observing
you.
4
A
powerful
noble
offers
a
hefty
price
for
your
work
and
is
not
interested
in
hearing
no
for
an
answer}?
5
A
dwarfclan
accuses
you
of
stealing
its
secret
lore
to
fuel
your
work.1i
6
A
competitor
spreads
rumors
that
your
work
is
shoddy
and
prone
to
failurefii‘
*Might
involve
a
rival
til-i-H‘l
in.
ntirti
.
it
is;
‘u
'-..‘~'.'l'!-'i-’.‘H
'1
on:
:-I.
s
Brewing
Potions
oi'Healing.
Potions
of
healing
fall
into
a
special
category
for
item
crafting,
separate
from
other
magic
items.
A
character
who
has
proficiency
with
the
herbalism
kit
can
create
these
potions.
The
times
and
costs
for
doing
so
are
summarized
on
the
Potion
of
Healing
Creation
table.
POTION
or
HEALING
CREATION
Type
Time
Cost
Healing
lday
25
gp
Greater
healing
l
workweek
100
gp
Superior
healing
3
workweeks
1,000
gp
Supreme
healing
4
workweeks
10,000
gp
CRIME
Sometimes
it
pays
to
be
bad.
This
activity
gives
a
char—
acter
the
chance
to
make
some
extra
cash,
at
the
risk
of
arrest.
Resources.
A
character
must
spend
one
week
and
at
least
25
gp
gathering
information
on
potential
targets
before
committing
the
intended
crime.
Resolution.
The
character
must
make
a
series
of
checks,
with
the
DC
for
all
the
checks
chosen
by
the
character
according
to
the
amount
of
profit
sought
from
the
crime.
The
chosen
DC
can
be
10,
15,
20,
or
25.
Successful
completion
of
the
crime
yields
a
number
of
gold
pieces,
as
shown
on
the
Loot
Value
table.
To
attempt
a
crime,
the
character
makes
three
checks:
Dexterity
(Stealth),
Dexterity
using
thieves’
tools,
and
the
player’s
choice
of
Intelligence
(Investigation),
Wis-
dom
(Perception),
0r
Charisma
(Deception).
If
none
of
the
checks
are
successful,
the
character
is
caught
and
jailed.
The
character
must
pay
a
fine
equal
to
the
profit
the
crime
would
have
earned
and
must
spend
one
week
injail
for
each
25 gp
of
the
fine.
If
only
one
check
is
successful.
the
heist
fails
but
the
character
escapes.
If
two
checks
are
successful,
the
heist
is
a
partial
suc—
cess,
netting
the
character
half
the
payout.
If
all
three
checks
are
successful,
the
character
earns
the
full
value
of
the
loot.
Loor
VALUE
DC
Value
10
50
gp,
robbery
ofa
struggling
merchant
15
100
gp,
robbery
ofa
prosperous
merchant
20
200
gp,
robbery
oia
noble
25
1,000
gp,
robbery
oione
ofthe
richest
figures
in
town
Complications.
A
life
of
crime
is
filled
with
complica—
tions.
Roll
on
the
Crime
Complications
table
(or
create
a
complication
of
your
own)
if
the
character
succeeds
on
only
one
check.
If
the
character’s
rival
is
involved
in
crime
or
law
enforcement,
a
complication
ensues
if
the
character
succeeds
on
only
two
checks.
CRIME
COMPLICATIONS
d8
Complication
l
A
bounty
equal
to
your
earnings
is
offered
for
infor-
mation
about
your
crimefi"
2
An
unknown
person
contacts
you,
threatening
to
reveal
your
crime
ifyou
don’t
render
a
service"?
3
Your
victim
is
financially
ruined
by
your
crime.
4
Someone
who
knows
ofyour
crime
has
been
ar-
rested
on
an
unrelated
matterfii'
5
Your
loot
is
a
single,
easily
identified
item
that
you
can't
fence
in
this
region.
6
You
robbed
someone
who
was
under
a
local
crime
lord's
protection,
and
who
now
wants
revenge.
7
Your
victim
calls
in
a
favor
from
a
guard,
doubling
the
efforts
to
solve
the
case.
8
Your
victim
asks
one
of
your
adventuring
compan-
ions
to
solve
the
crime.
*Might
involve
a
rival
GAMBLING
Games
of
chance
are
a
way
to
make
a
fortune—and
per-
haps
a
better
way
to
lose
one.
Resources.
This
activity
requires
one
workweek
of
ef-
fort
plus
a
stake
of
at
least
10
gp,
to
a
maximum
of
1,000
gp
or
more,
as
you
see
fit.
Resolution.
The
character
must
make
a
series
of
checks,
with
a
DC
determined
at
random
based
on
the
quality
of
the
competition
that
the
character
runs
into.
Part
of
the
risk
of
gambling
is
that
one
never
knows
who
might
end
up
sitting
across
the
table.
The
character
makes
three
checks:
Wisdom
(Insight),
Charisma
(Deception),
and
Charisma
(Intimidation).
If
the
character
has
proficiency
with
an
appropriate
gaming
set,
that
tool
proficiency
can
replace
the
rele-
vant
skill
in
any
of
the
checks.
The
DC
for
each
of
the
checks
is
5
+
2d10;
generate
a
separate
DC
for
each
one.
Consult
the
Gambling
Results
table
to
see
how
the
character
did.
GAMBLING
RESULTS
Result
Value
Lose
all
the
money
you
bet,
and
accrue
a
debt
equal
to
that
amount.
0
successes
Lose
halfthe
money
you
bet.
Gain
the
amount
you
bet
plus
half
again
1
success
2
successes
more.
3
successes
Gain
double
the
amount
you
bet.
Complications.
Gambling
tends
to
attract
unsavory
individuals.
The
potential
complications
involved
come
from
runflins
with
the
law
and
associations
with
various
criminals
tied
to
the
activity.
Every
workweek
spent
gambling
brings
a
10
percent
chance
of
a
complication,
examples
of
which
are
on
the
Gambling
Complica—
tions
table.
l
p
GAMBLING
COMPLICATIONS
d6
Complication
'I
You
are
accused
ofcheating.
You
decide
whether
you
actually
did
cheat
or
were
framed":
2
The
town
guards
raid
the
gambling
hall
and
throw
you
in
jailfii‘
3
A
noble
in
town
loses
badly
to
you
and
loudly
vows
to
get
revenge.‘-’-’
4
You
won
a
sum
from
a
low—ranking
member
ofa
thieves'
guild,
and
the
guild
wants
its
money
back.
5
A
local
crime
boss
insists
you
start
frequenting
the
boss's
gambling
parlor
and
no
others.
6
A
high—stakes
gambler
comes
to
town
and
insists
that
you
take
part
in
a
game.
*Might
involve
a
rival
PIT
FIGHTING
Pit
fighting
includes
boxing,
wrestling,
and
other
nonle—
thal
forms
of
combat
in
an
organized
setting
with
prede—
termined
matches.
If
you
want
to
introduce
competitive
fighting
in
a
battle-to—the-death
situation,
the
standard
combat
rules
apply
to
that
sort
of
activity.
Resources.
Engaging
in
this
activity
requires
one.
workweek
of
effort
from
a
character.
Resolution.
The
character
must
make
a
series
of
checks,
with
a
DC
determined
at
random
based
on
the
quality
of
the
opposition
that
the
character
runs
into.
A
big
part
of
the
challenge
in
pit
fighting
lies
in
the
un-
known
nature
of
a
character's
opponents.
The
character
makes
three
checks:
Strength
(Athlet—
ics),
Dexterity
(Acrobatics),
and
a
special
Constitution
check
that
has
a
bonus
equal
to
a
roll
of
the
character’s
largest
Hit
Die
(this
roll
doesn't
spend
that
die).
If
de-
sired,
the
character
can
replace
one
of
these
skill
checks
with
an
attack
roll
using
one
of
the
character’s
weapons.
The
DC
for
each
of
the
checks
is
5
+
2d10;
generate
a
separate
DC
for
each
one.
Consult
the
Pit
Fighting
Re-
sults
table
to
see
how
the
character
did.
PIT
FIGHTING
RESULTS
Result
Value
0
successes
Lose
your
bouts,
earning
nothing.
1
success
Win
50
gp.
2
successes
Win
100
gp.
3
successes
Win
200
gp.
Complications.
Characters
involved
in
pit
fighting
must
deal
with
their
opponents,
the
people
who
bet
on
matches,
and
the
matches’
promoters.
Every
workweek
spent
pit
fighting
brings
a
10
percent
chance
of
a
compli—
cation,
examples
of
which
are
on
the
Pit
Fighting
Com-
plications
table.
PIT
FIGHTING
COMPLICATIONS
d6
Complication
1
An
opponent
swears
to
take
revenge
on
you.”"-‘
2
A
crime
boss
approaches
you
and
oi‘T‘ers
to
pay
you
to
intentionally
lose
a
few
matches.“-'~’
3
You
defeat
a
popular
local
champion,
drawing
the
crowd's
ire.
4
You
defeat
a
noble’s
servant,
drawing
the
wrath
of
the
noble’s
housei"
5
You
are
accused
ofcheating.
Whether
the
allega-
tion
is
true
or
not,
your
reputation
is
tarnished?"
6
You
accidentally
deliver
a
near-fatal
wound
to
a
foe.
*Might
involve
a
rival
RELAXATION
Sometimes
the
best
thing
to
do
between
adventures
is
relax.
Whether
a
character
wants
a
hard-earned
vaca-
tion
or
needs
to
recover
from
injuries,
relaxation
is
the
ideal
option
for
adventurers
who
need
a
break.
This
op-
tion
is
also
ideal
for
players
who
don’t
want
to
make
use
of
the
downtime
system.
Resources.
Relaxation
requires
one
week.
A
charac-
ter
needs
to
maintain
at
least
a
modest
lifestyle
while
relaxing
to
gain
the
benefit
of
the
activity.
Resolution.
Characters
who
maintain
at
least
a
mod—
est
lifestyle
while
relaxing
gain
several
benefits.
While
relaxing,
a
character
gains
advantage
on
saving
throws
to
recover
from
long-acting
diseases
and
poisons.
In
addition,
at
the
end
of
the
week,
a
character
can
end
one
effect
that
keeps
the
character
from
regaining
hit
points,
or
can
restore
one
ability
score
that
has
been
reduced
to
less
than
its
normal
value.
This
benefit
cannot
be
used
if
the
harmful
effect
was
caused
by
a
spell
or
some
other
magical
effect
with
an
ongoing
duration.
Complications.
Relaxation
rarely
comes
with
com—
plications.
If
you
want
to
make
life
complicated
for
the
characters,
introduce
an
action
or
an
event
connected
to
a
rival.
RELIGIOUS
SERVICE
Characters
with
a
religious
bent
might
want
to
spend
downtime
in
service
to
a
temple,
either
by
attending
rites
or
by
proselytizing
in
the
community.
Someone
who
undertakes
this
activity
has
a
chance
of
winning
the
favor
of
the
temples
leaders.
Resources.
Performing
religious
service
requires
ac—
cess
to,
and
often
attendance
at,
a
temple
whose
beliefs
and
ethos
align
with
the
character’s.
If
such
a
place
is
available,
the
activity
takes
one
workweek
of
time
but
involves
no
gold
piece
expenditure.
Resolution.
At
the
end
of
the
required
time,
the
char—
acter
chooses
to
make
either
an
Intelligence
(Religion)
check
or
a
Charisma
(Persuasion)
check.
The
total
of
the
check
determines
the
benefits
of
service,
as
shown
on
the
Religious
Service
table.
t
i
i
i
.\
li'il’
i-Fl
‘_--‘_
ii
ll
N
t;
15.
i"
l
N
.‘ri
AST
1:
fl
'3}
{I}
l_
.‘I
l.
.‘i
,"
"r“—
———-——-—
RELIGIOUS
SERVICE
Check
Total
Result
l—lO
No
effect.
Your
efforts
fail
to
make
a
lasting
impression.
11—20
You
earn
one
favor.
21+
You
earn
two
favors.
A
favor,
in
broad
terms,
is
a
promise
of
future
assis-
tance
from
a
representative
of
the
temple.
It
can
be
expended
to
ask
the
temple
for
help
in
dealing
with
a
specific
problem,
for
general
political
or
social
support,
or
to
reduce
the
cost
of
cleric
spellcasting
by
50
percent.
A
favor
could
also
take
the
form
of
a
deity’s
intervention,
such
as
an
omen,
a
vision,
or
a
minor
miracle
provided
at
a
key
moment.
This
latter
sort
of
favor
is
expended
by
the
DM,
who
also
determines
its
nature.
Favors
earned
need
not
be
expended
immediately,
but
only
a
certain
number
can
be
stored
up.
A
character
can
have
a
maximum
number
of
unused
favors
equal
to
1
+
the
character‘s
Charisma
modifier
(minimum
of
one
un~
used
favor).
Complications.
Temples
can
be
labyrinths
of
political
and
social
scheming.
Even
the
best-intentioned
sect
can
fall
prone
to
rivalries.
A
character
who
serves
a
temple
risks
becoming
embroiled
in
such
struggles.
Every
workweek
spent
in
religious
service
brings
a
10
percent
chance
of
a
complication,
examples
of
which
are
on
the
Religious
Service
Complications
table.
RELIGIOUS
SERVICE
COMPLICATIONS
d6
Complication
1
You
have
offended
a
priest
through
your
words
or
actions"?
2
Blasphemy
is
still
blasphemy,
even
ifyou
did
it
by
accident.
3
A
secret
sect
in
the
temple
offers
you
membership.
4
Another
temple
tries
to
recruit
you
as
a
spy."~'
The
temple
elders
implore
you
to
take
up
a
holy
quest.
6
You
accidentally
discover
that
an
important
person
in
the
temple
is
a
fiend
worshiper.
*Might
involve
a
rival
RESEARCH
Forewarned
is
forearmed.
The
research
downtime
ac-
tivity
allows
a
character
to
delve
into
lore
concerning
a
monster,
a
location,
a
magic
item,
or
some
other
partic-
ular
topic.
Resources.
Typically,
a
character
needs
access
to
a
library
or
a
sage
to
conduct
research.
Assuming
such
access
is
available,
conducting
research
requires
one
workweek
of
effort
and
at
least
50
gp
spent
on
materials,
bribes,
gifts,
and
other
expenses.
Resolution.
The
character
declares
the
focus
Of
the
research—a
specific
person,
place,
or
thing.
After
one
workweek,
the
character
makes
an
Intelligence
check
with
a
+1
bonus
per
100
gp
spent
beyond
the
initial
100
gp,
to
a
maximum
of
+6.
In
addition,
a
character
who
has
access
to
a
particularly
well—stocked
library
or
knowledgeable
sages
gains
advantage
on
this
check.
Determine
how
much
lore
a
character
learns
using
the
Research
Outcomes
table.
RESEARCH
OUTCOMES
Check
Total
Outcome
1—5
NO
effect.
6—l0
You
learn
one
piece
oflore.
ll~20
21+
You
learn
three
pieces
oflore.
You
learn
two
pieces
oflore.
Each
piece
of
lore
is
the
equivalent
of
one
true
state-
ment
about
a
person,
place,
or
thing.
Examples
include
knowledge
of
a
creature's
resistances,
the
password
needed
to
enter
a
sealed
dungeon
level,
the
spells
com-
monly
prepared
by
an
order
of
wizards,
and
so
on.
As
DM,
you
are
the
final
arbiter
concerning
exactly
what
a
character
learns.
For
a
monster
or
an
NFC,
you
can
reveal
elements
of
statistics
or
personality.
For
a
lo—
cation,
you
can
reveal
secrets
about
it,
such
as
a
hidden
entrance,
the
answer
to
a
riddle,
or
the
nature
of
a
crea—
ture
that
guards
the
place.
Complications.
The
greatest
risk
in
research
is
un-
covering
false
information.
Not
all
lore
is
accurate
or
truthful,
and
a
rival
with
a
scholarly
bent
might
try
to
lead
the
character
astray,
especially
if
the
object
of
the
research
is
known
to
the
rival.
The
rival
might
plant
false
information,
bribe
sages
to
give
bad
advice,
or
steal
key
tomes
needed
to
find
the
truth.
In
addition,
a
character
might
run
into
other
com-
plications
during
research.
Every
workweek
spent
in
research
brings
a
10
percent
chance
of
a
complication,
examples
of
which
are
on
the
Research
Complica—
tions
table.
RESEARCH
COMPLICATIONS
d6
Complication
1
You
accidentally
damage
a
rare
book.
2
You
offend
a
sage,
who
demands
an
extravagant
giftfi‘
3
lfyou
had
known
that
book
was
cursed,
you
never
would
have
opened
it.
4
A
sage
becomes
obsessed
with
convincing
you
ofa
number
of
strange
theories
about
reality}?
5
Your
actions
cause
you
to
be
banned
from
a
library
until
you
make
reparations.""
6
You
uncovered
useful
lore,
but
only
by
promising
to
complete
a
dangerous
task
in
return.
1'~'lvlight
involve
a
rival
SCRIBING
A
SPELL
SCROLL
With
time
and
patience,
a
spellcaster
can
transfer
a
spell
to
a
scroll,
creating
a
spell
scroll.
Resources.
Scribing
a
spell
scroll
takes
an
amount
of
time
and
money
related
to
the
level
of
the
spell
the
char~
acter
wants
to
scribe,
as
shown
in
the
Spell
Scroll
Costs
table.
In
addition,
the
character
must
have
proficiency
in
the
Arcana
skill
and
must
provide
any
material
com-
ponents
required
for
the
casting
of
the
spell.
Moreover,
the
character
must
have
the
Spell
prepared,
or
it
must
be
among
the
character’s
known
spells,
in
order
to
scribe
a
scroll
of
that
spell.
If
the
scribed
spell
is
a
cantrip,
the
version
on
the
scroll
works
as
if
the
caster
were
1st
level.
SPELL
SCROLL
Cosrs
Spell
Level
Time
Cost
Cantrip
1
day
15
gp
1st
1
day
25
gp
2nd
3
days
250
gp
3rd
1
workweek
500
gp
4th
2
workweeks
2,500
gp
5th
4
workweeks
5,000
gp
6th
8
workweeks
15,000
gp
ith
16
workweeks
25,000
gp
8th
32
workweeks
50,000
gp
9th
48
workweeks
250,000
gp
Complications.
Crafting
a
spell
scroll
is
a
solitary
task,
unlikely
to
attract
much
attention.
The
complica-
tions
that
arise
are
more
likely
to
involve
the
preparation
needed
for
the
activity.
Every
workweek
spent
scribing
brings
a
10
percent
chance
of
a
complication,
examples
of
which
are
on
the
Scribe
a
Scroll
Complications
table.
SCRIBE
A
SCROLL
COMPLICATIONS
d6
Complication
1
You
bought
up
the
last
ofthe
rare
ink
used
to
craft
scrolls,
angering
a
wizard
in
town.
2
The
priest
ofa
temple
of
good
accuses
you
oftraf—
ficking
in
dark
magic?
3
A
wizard
eager
to
collect
one
ofyour
spells
in
a
book
presses
you
to
sell
the
scroll.
4
Due
to
a
strange
error
in
creating
the
scroll,
it
is
instead
a
random
spell
ofthe
same
level.
5
The
rare
parchment
you
bought
for
your
scroll
has
a
barely
visible
map
on
it.
6
A
thiefattempts
to
break
into
your
workroom}?
‘-'~'Might
involve
a
rival
SELLING
A
MAGIC
ITEM
Selling
a
magic
item
is
by
no
means
an
easy
task.
Con
artists
and
thieves
are
always
looking
out
for
an
easy
score,
and
there's
no
guarantee
that
a
character
will
re-
ceive
a
good
offer
even
if
a
legitimate
buyer
is
found.
Resources.
A
character
can
find
a
buyer
for
one
magic
item
by
spending
one
workweek
and
25
gp,
which
is
used
to
spread
word
of
the
desired
sale.
A
character
must
pick
one
item
at
a
time
to
sell.
Resolution.
A
character
who
wants
to
sell
an
item
must
make
a
Charisma
(Persuasion)
check
to
determine
what
kind
of
offer
comes
in.
The
character
can
always
opt
not
to
sell,
instead
forfeiting
the
workweek
of
effort
and
trying
again
later.
Use
the
Magic
Item
Base
Prices
and
Magic
Item
Offer
tables
to
determine
the
sale
price.
MAGIC
ITEM
BASE
PRICES
Rarity
Base
Price":
Common
100
gp
Uncommon
400
gp
Rare
4,000
gp
Very
rare
40,000
gp
Legendary
200,000
gp
*Halved
for
a
consumable
item
like
a
potion
or
scroll
MAGIC
ITEM
OFFER
Check
Total
.
Offer
1—10
50%
of
base
price
11—20
100%
of
base
price
21+
150%
ofbase
price
Complications.
The
main
risk
in
selling
a
magic
item
lies
in
attracting
thieves
and
anyone
else
who
wants
the
item
but
doesn’t
want
to
pay
for
it.
Other
folk
might
try
to
undermine
a
deal
in
order
to
bolster
their
own
business
or
seek
to
discredit
the
character
as
a
legitimate
seller.
Every
workweek
spent
trying
to
sell
an
item
brings
a
10
percent
chance
of
a
complication,
examples
of
which
are
on
the
Magic
Item
Sale
Complications
table.
;;;;;
MAGIC
ITEM
SALE
COMPLICATIONS
d6
Complication
1
Your
enemy
secretly
arranges
to
buy
the
item
to
use
it
against
you}?
2
A
thieves’
guild,
alerted
to
the
sale,
attempts
to
steal
your
item?"
3
A
foe
circulates
rumors
that
your
item
is
a
fake?"
4
A
sorcerer
claims
your
item
as
a
birthright
and
de-
mands
you
hand
it
over.
5
Your
item’s
previous
owner,
or
surviving
allies
of
the
owner,
vow
to
retake
the
item
by
force.
6
The
buyer
is
murdered
before
the
sale
is
finalizedi"
*Might
involve
a
rival
TRAINING
Given
enough
free
time
and
the
services
of
an
instruc-
tor,
a
character
can
learn
a
language
or
pick
up
profi—
ciency
with
a
tool.
Resources.
Receiving
training
in
a
language
or
tool
typically
takes
at
least
ten
workweeks,
but
this
time
is
reduced
by
a
number
of
workweeks
equal
to
the
char—
acter’s
Intelligence
modifier
(an
Intelligence
penalty
doesn’t
increase
the
time
needed).
Training
costs
25
gp
per
workweek.
Complications.
Complications
that
arise
while
train-
ing
typically
involve
the
teacher.
Every
ten
workweeks
spent
in
training
brings
a
10
percent
chance
of
a
compli-
cation,
examples
of
which
are
on
the
Training
Complica—
tions
table.
i.iia‘\.i"1'l'i-Z
11
l
UL!
Kill-1t)".
.':i.‘\.*~i'i'i5[-L'."~'~
‘i'kfit'ilb
TRAINING
COMPLICATIONS
d6
Complication
1
Your
instructor
disappears,
forcing
you
to
spend
one
workweek
finding
a
new
onefi"
2
Your
teacher
instructs
you
in
rare,
archaic
meth-
ods,
which
draw
comments
from
others.
Your
teacher
is
a
spy
sent
to
learn
your
plans?"
Your
teacher
is
a
wanted
criminal.
Your
teacher
is
a
cruel
taskmaster.
G‘U‘I-DI-UJ
Your
teacher
asks
for
help
dealing
with
a
threat.
*Might
involve
a
rival
WORK
When
all
else
fails,
an
adventurer
can
turn
to
an
honest
trade
to
earn
a
living.
This
activity
represents
a
char—
acters
attempt
to
find
temporary
work,
the
quality
and
wages
of
which
are
difficult
to
predict.
Resources.
Performing
ajob
requires
one
workweek
of
effort.
Resolution.
To
determine
how
much
money
a
char—
acter
earns,
the
character
makes
an
ability
check:
Strength
(Athletics),
Dexterity
(Acrobatics),
Intelligence
using
a
set
of
tools,
Charisma
(Performance),
or
Cha-
risma
using
a
musical
instrument.
Consult
the
Wages
table
to
see
how
much
money
is
generated
according
to
the
total
of
the
check.
WAGES
Check
Total
Earnings
9
or
lower
Poor
lifestyle
for
the
week
10—14
Modest
lifestyle
for
the
week
15—20
Comfortable
lifestyle
for
the
week
21+
Comfortable
lifestyle
for
the
week
+
25
gp
Complications.
Ordinary
work
is
rarely
filled
with
significant
complications.
Still,
the
Work
Complications
table
can
add
some
difficulties
to
a
worker’s
life.
Each
workweek
of
activity
brings
a
10
percent
chance
that
a
character
encounters
a
complication.
WORK
COMPLICATIONS
d6
Complication
i
A
difficult
customer
or
a
fight
with
a
coworker
re-
duces
the
wages
you
earn
by
one
category.‘-'-'
2
Your
employer’s
financial
difficulties
result
in
your
not
being
paid}?
3
A
coworker
with
ties
to
an
important
family
in
town
takes
a
dislike
to
you}?
4
Your
employer
is
involved
with
a
dark
cult
or
a
criminal
enterprise.
A
crime
ring
targets
your
business
for
extortion?
6
You
gain
a
reputation
for
laziness
(unjustified
or
not,
as
you
choose),
giving
you
disadvantage
on
checks
made
for
this
downtime
activity
for
the
next
six
workweeks
you
devote
to
its::
7'~‘Might
involve
a
rival
AWARDING
MAGIC
ITEMS
Magic
items
are
prized
by
D8113
adventurers
of
all
sorts
and
are
often
the
main
reward
in
an
adventure.
The
rules
for
magic
items
are
presented,
along
with
the
Treasure
Hoard
tables,
in
chapter
7
of
the
Dungeon
Master’s
Guide.
This
section
expands
on
those
rules
by
offering
you
an
alternative
way
of
determining
which
magic
items
end
up
in
the
characters"
possession
and
by
adding
a
collection
of
common
magic
items
to
the
game.
The
section
ends
with
tables
that
group
magic
items
ac-
cording
to
rarity.
The
system
in
the
Dungeon
Master’s
Guide
is
de—
signed
so
that
you
can
generate
all
treasure
randomly,
and.
the
tables
also
govern
the
number
of
magic
items
the
characters
receive.
In
short,
the
tables
do
the
work.
But
a
DM
who's
designing
or
modifying
an
adventure
might
prefer
to
choose
the
magic
items
that
come
into
play.
Ifyou’re
in
that
situation,
you
can
use
the
rules
in
this
section
to
personalize
your
treasure
hoards
while
staying
within
the
game’s
limits
for
how
many
items
the
characters
should
ultimately
accumulate.
DISTRIBUTION
BY
RARITY
This
alternative
method
of
treasure
determination
fo-
cuses
on
choosing
magic
items
based
on
their
rarity,
rather
than
by
rolling
on
the
tables
in
the
Dungeon
Mas-
ter’s
Guide.
This
method
uses
two
tables:
Magic
Items
Awarded
by
Tier
and
Magic
Items
Awarded
by
Rarity.
By
Tier.
The
Magic
Items
Awarded
by
Tier
table
shows
the
number
of
magic
items
a
D&D
party
typically
gains
during
a
campaign.
culminating
in
the
groups
having
accumulated
one
hundred
magic
items
by
20th
level.
The
table
shows
how
many
of
those
items
are
meant
to
be
handed
out
during
each
of
the
four
tiers
of
play.
The
emphasis
on
characters
receiving
more
items
during
the
second
tier
(levels
5—10)
than
in
other
tiers
is
by
design.
The
second
tier
is
where
much
of
the
play
occurs
in
a
typical
DEED
campaign,
and
the
items
gained
in
that
tier
prepare
the
characters
for
higher—level
adventures.
By
Rarity
The
Magic
Items
Awarded
by
Rarity
table
takes
the
numbers
from
the
Magic
Items
Awarded
by
Tier
table
and
breaks
them
down
to
show
the
number
of
items
of
each
rarity
the
characters
are
expected
to
have
when
they
reach
the
end
of
a
tier.
Minor
and
Major
Items.
Both
tables
in
this
section
make
a
distinction
between
minor
magic
items
and
ma-
jor
magic
items.
This
distinction
exists
in
the
Dungeon
Master’s
Guide,
yet
those
terms
aren’t
used
there.
In
that
book,
the
minor
items
are
those
listed
on
Magic
Item
Tables
A
through
E,
and
the
major
items
are
on
MAGIC
ITEMS
AWARDED
BY
RARITY
Minor
Magic
Items
Level/CR
Common
Uncommon
Rare
Very
Rare
L4
6
2
l
0
5—10
I0
12
5
I
11-46
3
6
9
5
I7+
O
0
4
9
Total
19
20
19
15
J
h...
BEHIND
THE
DESIGN:
MAGIC
ITEM
DISTRIBUTION
The
Dungeon
Master’s
Guide
assumes
a
certain
amount
of
treasure
will
be
found
over
the
course
ofa
campaign.
Over
twenty
levels
oftypical
play,
the
game
expects
forty-five
rolls
on
the
Treasure
Hoard
tables,
distributed
as
follows:
-
Seven
rolls
on
the
Challenge
0—4
table
-
Eighteen
rolls
on
the
Challenge
5——IO
table
-
Twelve
rolls
on
the
Challenge
II—I6
table
.
Eight
rolls
on
the
Challenge
I7+
table
Because
many
ofthe
table
results
call
for
more
than
one
magic
item,
those
forty—five
rolls
will
result
in
the
charac-
ters
obtaining
roughly
one
hundred
items.
The
optional
system
described
here
yields
the
same
number
of
items,
distributed
properly
throughout
the
spectrum
of
rarity,
while
enabling
you
to
control
exactly
which
items
the
char-
acters
have
a
chance
ofacquiring.
"'1
r
Magic
Item
Tables
F
through
I.
As
you
can
see
from
the
Treasure
Hoard
tables
in
that
book,
major
magic
items
are
meant
to
be
handed
out
much
less
frequently
than
minor
items,
even
at
higher
levels
of
play.
MAGIC
ITEMS
AWARDED
BY
TIER
Character
Level
Minor
Items
Major
Items
All
Items
1—4
9
2
‘II
5—1
0
28
6
34
Il—I
6
24
6
30
I7~20
l9
6
25
Total
80
20
100
CHOOSING
ITEMS
LEVEL
BY
LEVEL
You
decide
when
to
place
an
item
in
an
adventure
that
you're
creating
or
modifying,
usually
because
you
think
the
story
calls
for
a
magic
item,
the
characters
need
one,
or
the
players
would
be
especially
pleased
to
get
one.
When
you
want
to
select
an
item
as
treasure
for
an
en-
counter,
the
Magic
Items
Awarded
by
Rarity
table
serves
as
your
item
budget.
Here’s
how
to
use
it:
1.]ot
down
a
copy
of
the
table
in
your
notes,
so
that
you
can
make
adjustments
to
the
numbers
as
you
select
items
to
be
placed
in
an
adventure.
2.
Refer
to
the
line
in
the.
Level/CR
column
that
corre-
sponds
to
one
of
the
following
values
(your
choice):
the
level
of
the
player
characters,
the
challenge
rating
of
the
magic
item’s
owner,
or
the
challenge
rating
of
the
group
of
creatures
guarding
the
item.
The
entries
in
that
row
of
the
table
indicate
the
total
number
of
items
that
would
be
appropriate
for
the
characters
to
receive
by
the
end
of
the
tier
represented
by
that
row.
Major
Magic
Items
Legendary
Uncommon
Rare
Very
Rare
Legendary
0
2
0
0
0
0
5
0
O
I I
2
2
l
6
0
l
2
3
7
8
4 4
4
3.
Choose
a
magic
item
of
any
rarity
for
which
the
entry
in
this
row
is
not
0.
4.
When
the
characters
obtain
an
item,
modify
your
notes
to
indicate
which
part
of
your
budget
this
expen—
diture
came
from
by
subtracting
1
from
the
appropri-
ate
entry
on
the
table.
In
the
future,
if
you
choose
an
item
of
a
rarity
that’s
not
available
in
the
current
tier
but
is
still
available
in
a
lower
tier,
deduct
the
item
from
the
lower
tier.
If
all
lower
tiers
also
have
no
items
available
of
a
given
rarity,
deduct
the
item
from
a
higher
tier.
CHOOSING
ITEMS
PIECEMEAL
If
you
prefer
a
more
free—form
method
of
choosing
magic
items,
simply
select
each
magic
item
you
want
to
give
out;
then,
when
the
characters
acquire
one,
deduct
it
from
the
Magic
Items
Awarded
by
Rarity
table
in
your
notes.
Whenever
you
do
so,
start
with
the
lowest
tier,
and
deduct
the
item
from
the
first
number
you
come
across
in
the
appropriate
rarity
column
for
the
item,
whether
its
minor
or
major.
If
that
tier
doesn’t
have
a
number
greater
than
0
for
that
rarity,
go
up
a
tier
until
you
find
one
that
does,
and
deduct
the
magic
item
from
that
number.
Following
this
process,
you
will
zero
out
each
row
of
the
table
in
order,
going
from
the
lowest
lev-
els
to
the
highest.
OVERSTOCKING
AN
ADVENTURE
The
magic
item
tables
in
this
section
are
based
on
the
number
of
items
the
characters
are
expected
to
receive,
not
the
number
of
items
that
are
available
in
an
adven—
ture.
When
creating
or
modifying
an
adventure,
assume
that
the
characters
won’t
find
all
the
items
you
place
in
it,
unless
most
of
the
loot
is
in
easy-to—find
locations.
Here’s
a
good
rule
of
thumb:
an
adventure
can
include
a
number
of
items
that’s
25
percent
higher
than
the
num—
bers
in
the
tables
(round
up).
For
example,
an
adventure
designed
to
take
characters
from
1st
to
4th
level
might
include
fourteen
items
rather
than
eleven,
in
the
expec-
tation
that
three
of
those
items
won’t
be
found.
A
_‘
ARE
MAGIC
ITEMS
NECESSARY
IN
A
CAMPAIGN?
The
D&D
game
is
built
on
the
assumption
that
magic
items
appear
sporadically
and
that
they
are
always
a
boon,
unless
an
item
bears
a
curse.
Characters
and
monsters
are
built
to
face
each
other
without
the
help
of
magic
Items,
which
means
that
having
a
magic
item
always
makes
a
character
more
powerful
or
versatile
than
a
generic
char-
acter
ofthe
same
level.
As
DM,
you
never
have
to
worry
about
awarding
magic
items
just
so
the
characters
can
keep
up
with
the
campaign’s
threats.
Magic
items
are
truly
prizes.
Are
they
usefuliJ
Absolutely.
Are
they
necessary?
No.
Magic
items
can
go
from
nice
to
necessary
in
the
rare
group
that
has
no
spellcasters,
no
monk,
and
no
NPCs
capable
of
casting
magic
weapon.
Having
no
magic
makes
it
extremely
difl'icult
for
a
party
to
overcome
monsters
that
have
resistances
or
immunity
to
nonmagical
damage.
In
such
a
game,
you’ll
want
to
be
generous
with
magic
weap-
ons
or
else
avoid
using
such
monsters.
‘
r
'
33'
-1
Ii
11")
l...“
COMMON
MAGIC
ITEMS
The
Dungeon
Master’s
Guide
includes
many
magic
items
of
every
rarity.
The
one
exception
are
common
items;
that
book
includes
few
of
them.
This
section
intro—
duces
more
of
them
to
the
game.
These
items
seldom
in—
crease
a
character’s
power,
but
they
are
likely
to
amuse
players
and
provide
fun
roleplaying
opportunities.
The
magic
items
are
presented
in
alphabetical
order.
AEMOR
0E
GLEAMING
Armor
(any
medium
or
heavy),
common
This
armor
never
gets
dirty.
BEAD
or
NOURISHMENT
Wondrous
item,
common
This
spongy,
flavorless,
gelatinous
bead
dissolves
on
your
tongue
and
provides
as
much
nourishment
as
1
day
of
rations.
BEAD
OF
REERESHMENT
Wondrous
item.
common
This
spongy,
flavorless,
gelatinous
bead
dissolves
in
liquid,
transforming
up
to
a
pint
of
the
liquid
into
fresh,
cold
drinking
water.
The
head
has
no
effect
on
magical
liquids
or
harmful
substances
such
as
poison.
BOOTS
or
FALSE
TRACKS
Wondrous
item,
common
Only
humanoids
can
wear
these
boots.
While
wearing
the
boots,
you
can
choose
to
have
them
leave
tracks
like
those
of
another
kind
of
humanoid
of
your
size.
CANDLE
OF
THE
DEEP
Wondrous
item,
common
The
flame
of
this
candle
is
not
extinguished
when
immersed
in
water.
It
gives
off
light
and
heat
like
a
nor-
mal
candle.
CAST—
OFF
ARMOR
Armor
(light,
medium.
or
heavy),
common
You
can
doff
this
armor
as
an
action.
CHARLATAN’S
DIE
Wondrous
item.
common
(requires
attunement)
Whenever
you
roll
this
six—sided
die,
you
can
control
which
number
it
rolls.
CLOAK
OF
BILLOWING
Wondrous
item,
common
While
wearing
this
cloak,
you
can
use
a
bonus
action
to
make
it
billow
dramatically.
CLOAK
or
MANY
FASHIONS
Wondrous
item,
common
While
wearing
this
cloak,
you
can
use
a
bonus
action
to
change
the
style,
color,
and
apparent
quality
of
the
gar-
ment.
The
cloak’s
weight
doesn’t
change.
Regardless
of
its
appearance,
the
cloak
can’t
be
anything
but
a
cloak.
Although
it
can
duplicate
the
appearance
of
other
magic
cloaks,
it
doesn’t
gain
their
magical
properties.
CLOCKWORK
AMULET
Wondrous
item,
common
This
copper
amulet
contains
tiny
interlocking
gears
and
is
powered
by
magic
from
Mechanus,
a
plane
of
clockwork
predictability.
A
creature
that
puts
an
ear
to
the
amulet
can
hear
faint
ticking
and
whirring
noises
coming
from
within.
When
you
make
an
attack
roll
while
wearing
the
am—
ulet,
you
can
forgo
rolling
the
d20
to
get
a
10
on
the
die.
Once
used.
this
property
can’t
be
used
again
until
the
next
dawn.
CLOTHES
OF
MENDING
Wondrous
item,
common
This
elegant
outfit
of
traveler’s
clothes
magically
mends
itself
to
counteract
daily
wear
and
tear.
Pieces
of
the
out-
fit
that
are
destroyed
can’t
be
repaired
in
this
way.
DARK
SHARD
AMULET
Wondrous
item,
common
(requires
attunement
by
a
wariock)
This
amulet
is
fashioned
from
a
single
shard
of
resilient
extraplanar
material
originating
from
the
realm
of
your
warlock
patron.
While
you
are
wearing
it,
you
gain
the
following
benefits:
-
You
can
use
the
amulet
as
a
spellcasting
focus
for
your
warlock
spells.
You
can
try
to
cast
a
cantrip
that
you
don’t
know.
The
cantrip
must
be
on
the
warlock
spell
list,
and
you
must
make
a
DC
10
Intelligence
(Arcana)
check.
If
the
check
succeeds,
you
cast
the
spell.
If
the
check
fails,
so
does
the
spell,
and
the
action
used
to
cast
the
spell
is
wasted.
In
either
case,
you
can’t
use
this
property
again
until
you
finish
a
long
rest.
DREAD
HELM
Wondrous
item,
common
This
fearsome
steel
helm
makes
your
eyes
glow
red
while
you
wear
it.
EAR
HORN
OF
HEARING
Wondrous
item,
common
While
held
up
to
your
ear,
this
horn
suppresses
the
ef—
fects
of
the
deafened
condition
on
you,
allowing
you
to
hear
normally.
ENDURING
SPELLBOOK
Wondrous
item,
common
This
spellbook,
along
with
anything
written
on
its
pages,
can’t
be
damaged
by
fire
or
immersion
in
water.
In
addition,
the
spellbook
doesn't
deteriorate
with
age.
ERSATZ
EYE
Wondrous
item,
common
(requires
attunement)
This
artificial
eye
replaces
a
real
one
that
was
lost
or
removed.
While
the
ersata
eye
is
embedded
in
your
eye
socket,
it
can’t
be
removed
by
anyone
other
than
you,
and
you
can
see
through
the
tiny
orb
as
though
it
were
a
normal
eye.
HAT
OF
VERMIN
Wondrous
item,
common
This
hat
has
3
charges.
While
holding
the
hat,
you
can
use
an
action
to
expend
1
of
its
charges
and
speak
a
command
word
that
summons
your
choice
ofa
hat,
a
frog,
or
a
rat
(see
the
Player’s
Handbook
or
the
Monster
Manual
for
statistics).
The
summoned
creature
magi-
cally
appears
in
the
hat
and
tries
to
get
away
from
you
as
quickly
as
possible.
The
creature
is
neither
friendly
nor
hostile,
and
it
isn’t
under
your
control.
It
behaves
as
an
ordinary
creature
of
its
kind
and
disappears
after
1
hour
or
when
it
drops
to
0
hit
points.
The
hat
regains
all
expended
charges
daily
at
dawn.
HAT
OF
WIZARDRY
Wondrous
item,
common
(requires
attunemenr
by
a
Wizard)
This
antiquated,
cone—shaped
hat
is
adorned
with
gold
crescent
moons
and
stars.
While
you
are
wearing
it,
you
gain
the
following
benefits:
-
You
can
use
the
hat
as
a
spellcasting
focus
for
your
wizard
spells.
-
You
can
try
to
cast
a
cantrip
that
you
don’t
know.
The
cantrip
must
be
on
the
wizard
spell
list,
and
you
must
make
a
DC
10
Intelligence
(Arcana)
check.
If
the
check
succeeds,
you
cast
the
spell.
If
the
check
fails,
so
does
the
spell,
and
the
action
used
to
cast
the
spell
is
wasted.
In
either
case,
you
can’t
use
this
property
again
until
you
finish
a
long
rest.
HEWARD’S
HANDY
SPICE
POUCH
Wondrous
item,
common
This
belt
pouch
appears
empty
and
has
10
charges.
While
holding
the
pouch,
you
can
use
an
action
to
ex-
pend
l
of
its
charges,
speak
the
name
of
any
nonmag-
ical
food
seasoning
(such
as
salt,
pepper,
saffron,
or
cilantro),
and
remove
a
pinch
of
the
desired
seasoning
from
the
pouch.
A
pinch
is
enough
to
season
a
single
meal.
The
pouch
regains
1d6
+
4
expended
charges
daily
at
dawn.
HORN
OF
SILENT
ALARM
Wondrous
item,
common
This
horn
has
4
charges.
When
you
use
an
action
to
blow
it,
one
creature
of
your
choice
can
hear
the
horns
blare,
provided
the
creature
is
within
600
feet
of
the
horn
and
not
deafened.
No
other
creature
hears
sound
coming
from
the
horn.
The
horn
regains
ld4
expended
charges
daily
at
dawn.
INSTRUMENT
OF
ILLUSIONS
Wondrous
item,
common
(requires
attunement)
While
you
are
playing
this
musical
instrument,
you
can
create
harmless,
illusory
visual
effects
within
a
5—foot—radius
sphere
centered
on
the
instrument.
If
you
are
a
bard,
the
radius
increases
to
15
feet.
Sample
Visual
effects
include
luminous
musical
notes,
a
spec—
tral
dancer,
butterflies,
and
gently
falling
snow.
The
magical
effects
have
neither
substance
nor
sound,
and
they
are
obviously
illusory.
The
effects
end
when
you
stop
playing.
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INSTRUMENT
OF
SGRIBING
Wondrous
item,
common
(requires
attunement)
This
musical
instrument
has
3
charges.
While
you
are
playing
it,
you
can
use
an
action
to
expend
1
charge
from
the
instrument
and
write
a
magical
message
on
a
nonmagical
object
or
surface
that
you
can
see
within
30
feet
of
you.
The
message
can
be
up
to
six
words
long
and
is
written
in
a
language
you
know.
If
you
are
a
bard,
you
can
scribe
an
additional
seven
words
and
choose
to
make
the
message
glow
faintly,
allowing
it
to
be
seen
in
nonmagical
darkness.
Casting
dispel
magic
on
the
message
erases
it.
Otherwise,
the
message
fades
away
after
24
hours.
The
instrument
regains
all
expended
charges
daily
at
dawn.
LOCK
OF
TRICKERY
Wondrous
item,
common
This
lock
appears
to
be
an
ordinary
lock
(of
the
type
described
in
chapter
5
of
the
Player’s
Handbook)
and
comes
with
a
single
key.
The
tumblers
in
this
lock
magi.-
cally
adjust
to
thwart
burglars.
Dexterity
checks
made
to
pick
the
lock
have
disadvantage.
MOON—TOUCHED
SWORD
Weapon
(any
sword),
common
In
darkness,
the
unsheathed
blade
of
this
sword.
sheds
moonlight,
creating
bright
light
in
a
15-foot
radius
and
dim
light
for
an
additional
15
feet.
MYSTERY
KEY
Wondrous
item,
common
A
question
mark
is
worked
into
the
head
of
this
key.
The
key
has
a 5
percent
chance
of
unlocking
any
lock
into
which
it’s
inserted.
Once
it
unlocks
something,
the
key
disappears.
ORB
OF
DIRECTION
Wondrous
item,
common
While
holding
this
orb,
you
can
use
an
action
to
deter-
mine
which
way
is
north.
This
property
functions
only
on
the
Material
Plane.
ORB
OF
TiME
Wondrous
item,
common
While
holding
this
orb,
you
can
use
an
action
to
de-
termine
whether
it
is
morning,
afternoon,
evening,
or
nighttime
outside.
This
property
functions
only
on
the
Material
Plane.
PERFUME
OF
BEWITCHING
Wondrous
item,
common
This
tiny
vial
contains
magic
perfume,
enough
for
one
use.
You
can
use
an
action
to
apply
the
perfume
to
your-
self,
and
its
effect
lasts
1
hour.
For
the
duration,
you
have
advantage
on
all
Charisma
checks
directed
at
hu-
manoids
of
challenge
rating
1
or
lower.
Those
subjected
to
the
perfume’s
effect
are
not
aware
that
they’ve
been
influenced
by
magic.
PIPE
OF
SMOKE
MONSTERS
Wondrous
item,
common
While
smoking
this
pipe,
you
can
use
an
action
to
ex-
hale
a
puff
of
smoke
that
takes
the
form
of
a
single
crea—
ture,
such
as
a
dragon,
a
flumph,
or
a
froghemoth.
The
form
must
be
small
enough
to
fit
in
a
1-foot
cube
and
loses
its
shape
after
a
few
seconds,
becoming
an
ordi-
nary
puff
of
smoke.
POLE
OF
ANGLING
Wondrous
item,
common
While
holding
this
10—foot
pole,
you
can
speak
a
com-
mand
word
and
transform
it
into
a
fishing
pole
with
a
hook,
a
line,
and
a
reel.
Speaking
the
command
word
again
changes
the
fishing
pole
back
into
a
normal
10—foot
pole.
POLE
OF
COLLAPSING
Wondrous
item,
common
While
holding
this
10—foot
pole,
you
can
use
an
action
to
speak
a
command
word
and
cause
it
to
collapse
into
a
l-foot-long
rod,
for
ease
of
storage.
The
poles
weight
doesn’t
change.
You
can
use
an
action
to
speak
a
dif-
ferent
command
word
and
cause
the
rod
to
revert
to
a
pole;
however,
the
rod
will
elongate
only
as
far
as
the
surrounding
space
allows.
POT
OF
AWAKENING
Wondrous
item,
common
lfyou
plant
an
ordinary
shrub
in
this
lO-pound
clay
pot
and
let
it
grow
for
30
days,
the
shrub
magically
trans-
forms
into
an
awakened
shrub
(see
the
Monster
Man-
ual
for
statistics)
at
the
end
of
that
time.
When
the
shrub
awakens,
its
roots
break
the
pot,
destroying
it.
The
awakened
shrub
is
friendly
toward
you.
Absent
commands
from
you,
it
does
nothing.
ROPE
OF
MENDING
Wondrous
item,
common
You
can
cut
this
50-foot
coil
of
hempen
rope
into
any
number
of
smaller
pieces,
and
then
use
an
action
to
speak
a
command
word
and
cause
the
pieces
to
knit
back
together.
The
pieces
must
be
in
contact
with
each
other
and
not
otherwise
in
use.
A
rope
ofmending
is
for-
ever
shortened
if
a
section
of
it
is
lost
or
destroyed.
RUBY
OF
THE
WAR
MAGE
Wondrous
item,
common
(requires
attunement
by
a
speilcaster)
Etched
with
eldritch
runes,
this
l—inch-diameter
ruby
allows
you
to
use
a
simple
or
martial
weapon
as
a
spell—
casting
focus
for
your
spells.
For
this
property
to
work,
you
must
attach
the
ruby
to
the
weapon
by
pressing
the
ruby
against
it
for
at
least
10
minutes.
Thereafter,
the
ruby
can’t
be
removed
unless
you
detach
it
as
an
action
or
the
weapon
is
destroyed.
Not
even
an
antimagic
fieid
causes
it
to
fall
off.
The
ruby
does
fall
off
the
weapon
if
your
attunement
to
the
ruby
ends.
SHIELD
or
EXPRESSION
Armor(shie1d),
common
The
front
of
this
shield
is
shaped
in
the
likeness
of
a
face.
While
bearing
the
shield,
you
can
use
a
bonus
ac—
tion
to
alter
the
faces
expression.
SMOLDERING
ARMOR
Armor
(any),
common
Wisps
of
harmless,
odorless
smoke
rise
from
this
armor
while
it
is
worn.
STAFF
OF
ADORNMENT
Stat}:
common
Ifyou
place
an
object
weighing
no
more
than
1
pound
(such
as
a
shard
of
crystal,
an
egg,
or
a
stone)
above
the
tip
of
the
staff
while
holding
it,
the
object
floats
an
inch
from
the
staff’s
tip
and
remains
there
until
it
is
removed
or
until
the
staff
is
no
longer
in
your
posses-
sion.
The
staff
can
have
up
to
three
such
objects
floating
over
its
tip
at
any
given
time.
While
holding
the
staff,
you
can
make
one
or
more
of
the
objects
slowly
spin
or
turn
in
place.
STAFF
or
BIRDCALLS
Staff
common
This
wooden
staff
is
decorated
with
bird
carvings.
It
has
10
charges.
While
holding
it,
you
can
use
an
action
to
expend
1
charge
from
the
staff
and
cause
it
to
create
one
of
the
following
sounds
out
to
a
range
of
60
feet:
a
finch’s
chirp,
a
raven's
caw,
a
duck’s
quack,
a
chicken’s
cluck,
a
goose‘s
book,
a
loon’s
call,
a
turkey’s
gobble,
a
seagull’s
cry,
an
owl’s
hoot,
or
an
eagle’s
shriek.
The
staff
regains
1d6
+
4
expended
charges
daily
at
dawn.
If
you
expend
the
last
charge,
roll
a
d20.
On
a
1,
the
staff
explodes
in
a
harmless
cloud
of
bird
feathers
and
is
lost
forever.
STAFF
OF
FLOWERS
Sraflf
common
This
wooden
staff
has
10
charges.
While
holding
it,
you
can
use
an
action
to
expend
1
charge
from
the
staff
and
cause
a
flower
to
sprout
from
a
patch
of
earth
or
soil
within
5
feet
of
you,
or
from
the
staff
itself.
Unless
you
choose
a
specific
kind
of
flower,
the
staff
creates
a
mild-
scented
daisy.
The
flower
is
harmless
and
nonmagical,
and
it
grows
or
withers
as
a
normal
flower
would.
The
staff
regains
1d6
+
4
expended
charges
daily
at
dawn.
Ifyou
expend
the
last
charge,
roll
a
d20.
On
a
1,
the
staff
turns
into
flower
petals
and
is
lost
forever.
TALKING
DOLL
Wondrous
item,
common
(requires
attunement)
While
this
stuffed
doll
is
within
5
feet
of
you,
you
can
spend
a
short
rest
telling
it
to
say
up
to
six
phrases,
none
of
which
can
be
more
than
six
words
long,
and
set
a
con—
dition
under
which
the
doll
speaks
each
phrase.
You
can
also
replace
old
phrases
with
new
ones.
Whatever
the
condition,
it
must
occur
within
5
feet
of
the
doll
to
make
it
speak.
For
example,
whenever
someone
picks
up
the
doll,
it
might
say,
“I
want
a
piece
of
candy.”
The
doll’s
phrases
are
lost
when
your
attunement
to
the
doll
ends.
UNenEnxnsLE
Annows
TANKARD
OF
SOBRIETY
Wondrous
item,
common
This
tankard
has
a
stern
face
sculpted
into
one
side.
You
can
drink
ale,
wine,
or
any
other
nonmagical
alcoholic
beverage
poured
into
it
without
becoming
inebriated.
The
tankard
has
no
effect
on
magical
liquids
or
harmful
substances
such
as
poison.
UNBREAKABLE
ARROW
Weapon
(arrow),
common
This
arrow
can’t
be
broken,
except
when
it
is
within
an
an
tjmag'ic‘
field.
VETERAN’S
CANE
Wondrous
item,
common
When
you
grasp
this
walking
cane
and
use
a
bonus
ac-
tion
to
speak
the
command
word,
it
transforms
into
an
ordinary
longsword
and
ceases
to
be
magical.
WALLOPING
AMM
UNITION
Weapon
(any
ammunition),
common
This
ammunition
packs
a
wallop.
A
creature
hit
by
the
ammunition
must
succeed
on
a
DC
10
Strength
saving
throw
or
be
knocked
prone.
WAND
or
CONDUCTING
Wand,
common
This
wand
has
3
charges.
While
holding
it,
you
can
use
an
action
to
expend
1
of
its
charges
and
create
orches—
tral
music
by
waving
it
around.
The
music
can
be
heard
out
to
a
range
of
60
feet
and
ends
when
you
stop
wav-
ing
the
wand.
The
wand
regains
all
expended
charges
daily
at
dawn.
If
you
expend
the
wand’s
last
charge,
roll
a
d20.
On
a
1,
a
sad
tuba
sound
plays
as
the
wand
crumbles
to
dust
and
is
destroyed.
WAND
OF
PYROTECHNICS
Wand,
common
This
wand
has
7
charges.
While
holding
it,
you
can
use
an
action
to
expend
1
of
its
charges
and
create
a
harm-
less
burst
of
multicolored
light
at
a
point
you
can
see
up
to
60
feet
away.
The
burst
of
light
is
accompanied
by
a
crackling
noise
that
can
be
heard
up
to
300
feet
away.
The
light
is
as
bright
as
a
torch
flame
but
lasts
only
a
second.
The
wand
regains
1d6
+
1
expended
charges
daily
at
dawn.
Ifyou
expend
the
wand’s
last
charge,
roll
a
d20.
On
a
1,
the
wand
erupts
in
a
harmless
pyrotechnic
dis-
play
and
is
destroyed.
WAND
or
SCOWLS
Wand,
common
This
wand
has
3
charges.
While
holding
it,
you
can
use
an
action
to
expend
1
of
its
charges
and
target
a
human—
oid
you
can
see
within
30
feet
of
you.
The
target
must
succeed
on
a
DC
10
Charisma
saving
throw
or
be
forced
to
scowl
for
1
minute.
The
wand
regains
all
expended
charges
daily
at
dawn.
If
you
expend
the
wand’s
last
charge,
roll
a
d20.
On
a
1,
the
wand
transforms
into
a
wand
of
smiles.
WAND
or
SMILES
Wand,
common
This
wand
has
3
charges.
While
holding
it,
you
can
use
an
action
to
expend
1
of
its
charges
and
target
a
human-
oid
you
can
see
within
30
feet
of
you.
The
target
must
succeed
on
a
DC
10
Charisma
saving
throw
or
be
forced
to
smile
for
1
minute.
The
wand
regains
all
expended
charges
daily
at
dawn.
If
you
expend
the
wand’s
last
charge,
roll
a
d20.
On
a
1,
the
wand
transforms
into
a
wand
ofscowls.
.‘
LL
CREATING
ADDITIONAL
COMMON
ITEMS
The
“Special
Features”
section
in
chapter
7
ofthe
Dungeon
Master’s
Guide
is
useful
ifyou
want
to
design
other
com-
mon
magic
items.
For
example,
the
What
Minor
Property
Does
It
Have?
table
might
inspire
you
to
create
a
magic
item
that
allows
a
character
to
speak
and
understand
the
Goblin
language
(based
on
the
table’s
Language
property),
a
magic
item
that
glows
in
the
presence
offiends
(based
on
the
Sentinel
property),
or
a
magic
item
that
projects
its
user’s
voice
over
a
great
distance
(based
on
the
War
Leader
property).
MAGIC
ITEM
TABLES
The
tables
in
this
section
classify
the
magic
items
from
the
Dungeon
Master’s
Guide
and
the
new
items
pre—
sented
here
into
minor
items
and
major
items,
then
sep-
arate
the
items
in
each
group
according
to
rarity.
Each
table
entry
includes
the
item’s
type
and
an
indication
of
whether
the
item
requires
attunement.
Artifacts
aren’t
included
here;
they
are
beyond
even
major
items
in
power
and
importance.
MINOR
ITEMS,
COMMON
Item
Type
Attune?
Armor
of
gleaming
Armor
No
Bead
ofnourishment
Wondrous
item
No
Bead
of
refreshment
Wondrous
item
No
Boots
offalse
tracks
Wondrous
item
No
Candle
ofthe
deep
Wondrous
item
No
Cast—off
armor
Armor
No
Charlatan’s
die
Wondrous
item
Yes
Cloak
ofbillowing
Wondrous
item
No
Cloak
of
many
fashions
Wondrous
item
No
Clockwork
amulet
Wondrous
item
No
Clothes
of
mending
Wondrous
item
NO
Dark
shard
amulet
Wondrous
item
Yes
(warlock)
Dread
helm
Wondrous
item
No
Ear
horn
ofhearing
Wondrous
item
No
Enduring
spellbook
Wondrous
item
No
Ersatz
eye
Wondrous
item
Yes
Hat
ofvermin
Wondrous
item
No
Hat
ofwizardry
Heward’s
handy
spice
Wondrous
item
Wondrous
item
Yes
(wizard)
pouch
Horn
ofsilent
alarm
Wondrous
item
No
Instrument
ofillusions
Wondrous
item
Yes
Instrument
of
scribing
Wondrous
item
Yes
Lock
oftrickery
Wondrous
item
No
Moon-touched
sword
Weapon
No
Mystery
key
Wondrous
item
No
Orb
ofdirection
Wondrous
item
No
Orb
oftime
Wondrous
item
No
Perfume
of
bewitching
Wondrous
item
No
Pipe
of
smoke
monsters
Wondrous
item
No
Pole
ofangling
Wondrous
item
No
Pole
ofcollapsing
Wondrous
item
No
Pot
of
awakening
Wondrous
item
No
Potion
ofclimbing
Potion
No
Potion
of
healing
Potion
No
Rope
of
mending
Wondrous
item
No
Ruby
ofthe
war
mage
Wondrous
item
Yes
(spellcaster)
Shield
ofexpression
Armor
No
Smoldering
armor
Armor
No
Spell
scroll
(cantrip)
Scroll
No
Spell
scroll
(lst
level)
Scroll
No
Staffofadornment
Staff
No
Staffofbirdcalls
Staff
No
Item
Type
Mme?
MINOR
ITEMS,
RARE
Staff
of
flowers
Staiclr
No
Item
Type
Attune?
Talking
doll
Wondrous
item
Yes
Ammunition,
+2
Weapon
No
Tankard
of
sobriety
Wondrous
item
No
Bag
of
beans
Wondrous
item
No
Unbreakable
arrow
Weapon
No
Bead
offorce
Wondrous
item
No
Veteran’s
cane
Wondrous
item
No
Chime
otopening
Wondrous
item
No
Walloping
ammunition
Weapon
No
Elixir
of
health
Potion
No
-i
Wand
ofconducting
Wand
No
Folding
boat
Wondrous
item
No
:
Wand
of
pyrotechnics
Wand
No
Heward's
handy
haversack
Wondrous
item
No
Wand
of
scowls
Wand
No
Horseshoes
ofspeed
Wondrous
item
No
Wand
of
smiles
Wand
No
Necklace
offireballs
Wondrous
item
No
Oil
of
etherealness
Potion
No
MINOR
ITEMS,
UNCOMMON
Portable
hole
Wondrous
item
No
Item
Type
Attune?
Potion
ofclairvoyance
Potion
No
Alchemy
jug
Wondrous
item
No
Potion
ofdimi‘nution
Potion
No
Ammunition,
+1
Weapon
No
Potion
otfire
giant
strength
Potion
No
.
Bag
ofholding
Wondrous
item
No
Potion
offrost
giant
Potion
No
l
Cap
ofvvater
breathing
Wondrous
item
No
strength
.
)
Cloak
ofthe
manta
ray
Wondrous
item
No
Potion
ofgaseous
form
Potion
NO
l
Decanter
ofendless
water
Wondrous
item
No
Potion
ofherorsm
..
Potion
NO
I
Driftglobe
Wondrous
item
No
Potion
oflnvulnerabulllty
Potion
No
Dust
ofdisappearance
Wondrous
item
No
Potron
ofmind
reading
Potion
NO
Dust
ofdryness
Wondrous
item
No
Potion
Of
stone
giant
Potion
NO
Dust
ofsneezing
and
Wondrous
item
No
strength
choking
Potion
oisuperior
healing
Potion
No
Elemental
gem
Wondrous
item
No
Quaal’s
feather
token
Wondrous
item
No
Eyes
ofminute
seeing
Wondrous
item
No
SClOll
ofprotectlon
SUD”
NO
Goggles
ofnight
Wondrous
item
No
Spell
scroll
(4th
level)
Scroll
No
Helm
of
comprehending
Wondrous
item
No
Spell
scroll
(5th
level)
SUD“
NO
languages
Immovablerod
Rod
NO
MINOR
ITEMS,
VERY
RARE
Keoghtom’s
ointment
Wondrous
item
No
Item
Type
Attune?
Lantern
of
revealing
Wondrous
item
No
Ammunition,
+3
Weapon
No
Mariner's
armor
Armor
No
Arrow
otslaying
Weapon
No
Mithral
armor
Armor
No
Bag
ofdevouring
Wondrous
item
No
Oil
ofslipperiness
Potion
No
Horseshoes
ofa
zephyr
Wondrous
item
No
Periapt
of
health
Wondrous
item
No
Nolzur's
marvelous
Wondrous
item
No
Philter
oflove
Potion
No
pigments
Potion
ofanimal
friendship
Potion
No
Oil
ofsharpness
Potion
No
Potion
otfire
breath
Potion
No
Potion
ofcloud
giant
Potion
No
Potion
oigreater
healing
Potion
No
strength
Potion
otgrowth
Potion
No
Potion
otflying
Potion
No
Potion
of
hill
giant
strength
Potion
No
Potion
of
invisibility
Potion
No
Potion
of
poison
Potion
No
Potion
oflongevity
Potion
No
Potion
of
resistance
Potion
No
Potion
ofspeed
Potion
No
Potion
ofwater
breathing
Potion
No
Potion
of‘supreme
healing
Potion
No
Ring
of
swimming
Ring
No
Potion
ofvitality
Potion
No
Robe
ofusei‘ul
items
Wondrous
item
No
Spell
scroll
(6th
level)
Scroll
No
Rope
of
climbing
Wondrous
item
No
Spell
scroll
(7th
level)
Scroll
No
Saddle
ofthe
cavalier
Wondrous
item
No
Spell
scroll
(8th
level)
Scroll
No
Sending
stones
Wondrous
item
No
Spell
scroll
(2nd
level)
Scroll
No
Spell
scroll
(3rd
level)
Scroll
No
Wand
of
magic
detection
Wand
No
Wand
ofsecrets
Wand
No
MINOR
ITEMS,
LEGENDARY
Item
Potion
of
storm
giant
strength
Sovereign
glue
Spell
scroll
(9th
level)
Universal
solvent
Type
Pofion
Wondrous
item
Scroll
Wondrous
item
MAJOR
ITEMS,
UNCOMMON
Item
Adamantine
armor
Amulet
of
prootagainst
detection
and
location
Bag
ottricks
Boots
ofelvenkind
Boots
of
striding
and
springing
Boots
ofthe
winterlands
Bracers
ofarchery
Brooch
otshielding
Broom
offlying
Circlet
of
blasting
Cloak
ofelvenkind
Cloak
of
protection
Deck
otillusions
Eversmoking
bottle
Eyes
ofcharming
Eyes
otthe
eagle
Figurine
ofwondrous
power
(silver
raven)
Gauntlets
ofogre
power
Gem
of
brightness
Gloves
of
missile
snaring
Gloves
of
swimming
and
climbing
Gloves
otthievery
Hat
ofdisguise
Headband
otintellect
Helm
ottelepathy
Instrument
otthe
bards
(Doss
lute)
Instrument
ofthe
bards
(Fochlucan
bandore)
Instrument
otthe
bards
(Mac-Fuirmidh
cittern)
Javelin
oflightning
Medallion
ofthoughts
Necklace
of
adaptation
Pearl
of
power
Periapt
ofwound
closure
Pipes
of
haunting
Type
Armor
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Weapon
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Attune?
No
No
No
No
Attune?
No
Yes
Yes
Yes
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
(bard)
Yes
(bard)
Yes
(bard)
No
Yes
Yes
Yes
(spellcaster)
Yes
No
Item
Pipes
ofthe
sewers
Quiver
of
Ehlonna
Ring
ofjumping
Ring
ofmind
shielding
Ring
otwarmth
Ring
otwater
walking
Rod
ofthe
pact
keeper,
+1
Sentinel
shield
Shield,
+1
Slippers
ofspider
climbing
Stai‘lr
otthe
adder
Staff
otthe
python
Stone
ofgood
luck
(luck-
stone)
Sword
ofvengeance
Trident
offish
command
Wand
ofmagic
missiles
Wand
ofthe
war
mage,
+1
Wand
ofweb
Weapon
ofwarning
Weapon,
+1
Wind
fan
Winged
boots
MAioa
ITEMS,
RARE
Item
Amulet
ofhealth
Armor
of
resistance
Armor
ofvulnerability
Armor,
+1
Arrow-catching
shield
Belt
ofdwarvenkind
Belt
of
hill
giant
strength
Berserker
axe
Boots
oflevitation
Boots
otspeed
Bowl
ofcommanding
water
elementals
Bracers
ofdefense
Brazier
ofcommanding
fire
elementals
Cape
ofthe
mountebank
Censer
of
controlling
air
elementals
Cloak
ofdisplacement
Type
Wondrous
item
Wondrous
item
Ring
Ring
Ring
Ring
Rod
Armor
Armor
Wondrous
item
Staff
Staff
Wondrous
item
Weapon
Weapon
Wand
Wand
Wand
Weapon
Weapon
Wondrous
item
Wondrous
item
Type
Wondrous
item
Armor
Armor
Armor
Armor
Wondrous
item
Wondrous
item
Weapon
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Attune?
Yes
No
Yes
Yes
Yes
Yes
(warlock)
Yes
(cleric,
druid,
or
warlock)
Yes
(cleric,
druid,
or
warlock)
Yes
Yes
Yes
No
Yes
(spellcaster)
Yes
(spellcaster)
Yes
No
No
Yes
Attune?
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
No
Item
Cloak
ofthe
bat
Cube
offorce
Daern's
instant
fortress
Dagger
ofvenom
Dimensional
shackles
Dragon
slaver
Elven
chain
Figurine
ofwondrous
power
(bronze
griffon)
Figurine
ofwondrous
power
(ebony
fly)
Figurine
ofwondrous
power
(golden
lions)
Figurine
ofwondrous
power
(ivory
goats)
Figurine
ofwondrous
power
(marble
elephant)
Figurine
ofwondrous
power
(onyx
dog)
Figurine
ofwondrous
power
(serpentine
owl)
Flame
tongue
Gem
of
seeing
Giant
slayer
Glamoured
studded
leather
Helm
ofteleportation
Horn
of
blasting
Horn
ofValhalla
(silver
or
brass}
instrument
ofthe
bards
(Canaith
mandolin)
instrument
ofthe
bards
(Cli
lyre)
ioun
stone
(awareness)
ioun
stone
(protection)
ioun
stone
(reserve)
ioun
stone
(sustenance)
iron
bands
of
Bilarro
Mace
ofdisruption
Mace
ofsmiting
Mace
ofterror
Mantle
ofspell
resistance
Necklace
of
prayer
beads
Periapt
of
proofagainst
poison
Type
Wondrous
item
Wondrous
item
Wondrous
itern
Weapon
Wondrous
item
Weapon
Armor
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Weapon
Wondrous
item
Weapon
Armor
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Weapon
Weapon
Weapon
Wondrous
item
Wondrous
item
Wondrous
item
Attune?
Yes
Yes
No
No
No
Yes
Yes
Yes
(bard)
Yes
(bard)
Yes
Yes
(cleric,
druid,
or
paladin)
No
Item
Ring
ofanimal
influence
Ring
ofevasion
Ring
offeather
falling
Ring
offree
action
Ring
of
protection
Ring
of
resistance
Ring
ofspell
storing
Ring
ofthe
ram
Ring
ofX-ray
vision
Robe
ofeyes
Rod
of
rulership
Rod
ofthe
pact
keeper,
+2
Rope
ofentanglement
Shield
ofmissile
attraction
Shield,
+2
Staff
ofcharming
Staffofhealing
Staff
of
swarming
insects
Staff
ofthe
woodlands
Staffofwithering
Stone
of
controlling
earth
elementals
Sun
blade
Sword
oflife
stealing
Sword
ofwounding
Tentacle
rod
Vicious
weapon
Wand
of
binding
Wand
ofenemy
detection
Wand
offear
Wand
offireballs
Wand
oflightning
bolts
Wand
of
paralysis
Wand
ofthe
war
mage,
+2
Wand
ofwonder
Weapon,
+2
Wings
offlying
Type
Ring
Ring
Ring
Ring
Ring
Ring
Ring
Ring
Ring
Wondrous
item
Rod
Rod
Wondrous
item
Armor
Armor
Staff
Staff
Staff
Staff
Staff
Wondrous
item
Weapon
Weapon
Weapon
Rod
Weapon
Wand
Wand
Wand
Wand
Wand
Wand
Wand
Wand
Weapon
Attune?
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
(warlock)
No
Yes
No
Yes
(bard,
cleric,
druid,
sorcerer,
warlock,
or
wizard)
Yes
(bard,
cleric,
or
druid)
Yes
(bard,
cleric,
druid,
sorcerer,
warlock,
or
wizard)
Yes
(druid)
Yes
(cleric,
druid,
or
warlock)
No
Yes
Yes
Yes
Yes
No
Yes
(spellcaster)
Yes
Yes
Yes
(spellcaster)
Yes
(spellcaster)
Yes
(spellcaster)
Yes
(spellcaster)
Yes
(spellcaster)
No
Wondrous
item
Yes
.
.
Ad.
I
'
(4'
-
‘l
RECHARGING
WITHOUT
A
DAWN
Some
magic
items
can
be
used
a
limited
number
oftimes
but
are
recharged
by
the
arrival
ofdawn.
What
ifyou’re
on
a
plane
ofexistence
that
lacks
anything
resembling
dawn?
The
DM
should
choose
a
time
every
24
hours
when
such
magic
items
recharge
on
that
plane
ofexistence.
Even
on
a
world
that
experiences
dawn
each
day,
the
DM
is
free
to
choose
a
different
time—perhaps
noon,
sunset,
or
midnight—when
certain
magic
items
recharge.
MAIOR
ITEMS,
VERY
RARE
Item
Amulet
ofthe
planes
Animated
shield
Armor,
+2
Belt
offire
giant
strength
Belt
offrost/stone
giant
strength
Candle
ofinvocation
Carpet
offlying
Cloak
ofarachnida
Crystal
ball
(very
rare)
Dancing
sword
Demon
armor
Dragon
scale
mail
Dwarven
plate
Dwarven
thrower
Efreeti
bottle
Figurine
ofwondrous
power
(obsidian
steed)
Frost
brand
Helm
of
brilliance
Horn
ofValhalla
(bronze)
Instrument
ofthe
bards
(Anstruth
harp)
Ioun
stone
(absorption)
loun
stone
(agility)
Ioun
stone
(fortitude)
Ioun
stone
(insight)
Ioun
stone
(intellect)
Ioun
stone
(leadership)
Ioun
stone
(strength)
Manual
of
bodily
health
Manual
of
gainful
exercise
Manual
otgolems
Manual
ofquickness
of
action
Mirror
oflife
trapping
Nine
lives
stealer
Oathbow
Ring
of
regeneration
Ring
ofshooting
stars
Ring
oftelekinesis
Robe
of
scintillating
colors
Robe
of
stars
Rod
ofabsorption
Rod
of
alertness
Rod
of
security
Rod
ofthe
pact
keeper,
+3
Scimitar
ofspeed
Type
Wondrous
item
Armor
Armor
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Weapon
Armor
Armor
Armor
Weapon
Wondrous
item
Wondrous
item
Weapon
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Weapon
Weapon
Ring
Ring
Ring
Wondrous
item
Wondrous
item
Rod
Rod
Rod
Rod
Weapon
Attu
ne?
Yes
Yes
No
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
No
No
No
No
Yes
Yes
Yes
Yes
(dwarf)
(bard)
(outdoors
at
night)
Yes
Yes
Yes
Yes
Yes
No
Yes
Yes
(warlock)
Item
Sl’lield,
+3
Spellguard
shield
Staff
offlre
Staff
of
frost
Staff
of
power
Staff
of
striking
Staff
ofthunder
and
light-
ning
Sword
ofsharpness
Tome
ofclear
thought
Tome
ofleadership
and
influence
Tome
ofunderstanding
Wand
of
polymorph
Wand
ofthe
war
mage,
+3
Weapon,
+3
Type
Armor
Armor
Staff
Staff
Staff
Staff
Staff
Weapon
Wondrous
item
Wondrous
item
Wondrous
item
Wand
Wand
Weapon
MAJOR
ITEMS,
LEGENDARY
Item
Apparatus
of
Kwalish
Armor
ofinvulnerability
Armor,
+3
Belt
ofcloud
giant
strength
Belt
of
storm
giant
strength
Cloak
ofinvisibility
Crystal
ball
(legendary)
Cubic
gate
Deck
of
many
things
Defender
Efreeti
chain
Hammer
ofthunderbolts
Holy
avenger
Horn
ofValhalla
(iron)
Instrument
ofthe
bards
(Ollamh
harp)
loun
stone
(greater
ab—
sorption)
loun
stone
(mastery)
Ioun
stone
(regenera‘
tion)
Iron
flask
Luck
blade
Type
Wondrous
item
Armor
Armor
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Weapon
Armor
Weapon
Weapon
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Weapon
Attune?
No
Yes
Yes
(druid,
sor-
cerer,
warlock,
or
wizard)
Yes
(druid,
sor-
cerer,
warlock,
or
wizard)
Yes
(sorcerer,
warlock,
or
wizard)
Yes
Yes
Yes
No
No
No
Yes
(spellcaster)
Yes
(spellcaster)
No
Attune?
No
Yes
No
Yes
Yes
Yes
Yes
Yes
(Giant’s
Bane)
Yes
(paladin)
No
Yes
(bard)
Yes
Yes
Yes
No
Yes
Item
Plate
armor
of
ethere-
alness
Ring
ofair
elemental
command
Ring
ofdjinni
summoning
Ring
ofearth
elemental
command
Ring
offire
elemental
command
Ring
ofinvisibility
Ring
ofspell
turning
Ring
ofthree
wishes
Ring
ofwater
elemental
command
Robe
ofthe
archmagi
Rod
oflordly
might
Rod
of
resurrection
Scarab
of
protection
Sphere
ofannihilation
Staff
ofthe
magi
Sword
ofanswering
Talisman
of
pure
good
Talisman
ofthe
sphere
Talisman
of
ultimate
evil
Tome
ofthe
stilled
tongue
Vorpal
sword
Well
ofmany
worlds
Mcutr
(Ila
°
Fink,
lclntw
0
OR,
of
I
ah)
Type
Armor
Ring
Ring
Ring
Ring
Ring
Ring
Ring
Ring
Wondrous
item
Rod
Rod
Wondrous
item
Wondrous
item
Staff
Weapon
Wondrous
item
Wondrous
item
Wondrous
item
Wondrous
item
Weapon
Wondrous
item
In
wfiSiC
iluwc
[illitc‘lrz
501]:
at,
quit
LIAM
JAM,1
in“
,
l—(F'Wx
lZl/tl
lollhlA
Gil
wu.‘
“(a
”a
Attune?
Yes
Yes
Yes
Yes
Yes
Yes
(sorcerer,
warlock,
or
wizard)
Yes
Yes
(cleric,
druid,
or
paladin)
Yes
No
Yes
(sorcerer,
warlock,
or
wizard)
Yes
(creature
of
same
alignment
as
sword)
Yes
(creature
of
good
alignment)
Yes
Yes
(creature
of
evil
alignment)
Yes
(wizard)
Yes
No
(lab.
(t.
l
.
___‘.._l
CEAPTER
3
SPELLS
;
When
a
BM
adds
spells
to
a
campaign,
clerics,
druids,
and
paladins
require
special
consideration.
When
char-
acters
of
those
classes
prepare
their
spells,
they
have
ac—
cess
to
the
entire
spell
list
for
their
class.
Given
that
fact,
the
DM
should
be
cautious
about
making
all
of
these
new
spells
available
to
a
player
who
is
overwhelmed
when
presented
with
many
options.
For
such
a
player,
consider
adding
only
story—appropriate
spells
to
the
spell
list
of
that
player’s
character.
ANY
OF
THE
CHARACTER
CLASSES
IN
THE
Player’s
Handbook
harness
magic
in
the
form
of
spells.
This
chapter
provides
new
spells
for
those
classes,
as
well
as
for
spellcasting
monsters.
The
Dungeon
Mas-
ter
decides
which
of
these
spells
are
avail—
able
in
a
campaign
and
how
they
can
be
learned.
For
example,
a
DM
might
decide
that
some
of
the
spells
are
freely
available,
that
others
are
unobtainable,
and
that
a
handful
can
be
found
only
after
a
special
quest,
perhaps
discovered
in
a
long-lost
tome
of
magic.
Wizard
spells,
in
particular,
can
be
intro—
duced
to
a
campaign
in
spellbooks
found
as
treasure.
— —
-
——-I-—i--l—lllI——"_l;l-L—-II-_l.-.n_
-_-_
._
_|—
The
following
spell
lists
show
which
spells
can
be
cast
by
characters
of
each
class.
A
spell’s
school
of
magic
is
noted
in
parentheses.
If
a
spell
can
be
cast
as
a
ritual,
the
ritual
tag
also
appears
in
the
parentheses.
SPELL
LISTS
‘
l
.
7
(ho
ll:
all
Ll“
J‘Wl'
Lil“
new.
P‘“A
how.
ulna
m5!
W93“
winiW‘U“
\
”OPAL“
.
a?
s.
ultimo)
Mama
3'
Q
go
ulna).
CqIJL
Youth:
‘1.
Cam
Altimlczgrqht
lclfiihl:
hull)
uncut.
Push
how
__‘J‘
"\_._‘__
’44
BARD
SPELLS
CLERIC
SPELLS
DRUID
SPELLS
CANTRIPs
(o
LEVEL)
Thunderclap
(evocation)
'IST
LEVEL
Earth
tremor
(evocation)
2ND
LEVEL
Pyrotechnics
(transmutation)
Skywrite
(transmutation,
ritual)
Wording
wind
(evocation)
3RD
LEVEL
Catnap
(enchantment)
Enemies
abound
(enchantment)
4TH
LEVEL
Charm
monster
(enchantment)
5TH
LEVEL
Synaptic
static
(enchantment)
9TH
LEVEL
Psychic
scream
(enchantment)
Skill
empowerment
(transmutation)
Mass
poivmorph
(transmutation)
CANTRIPS
(o
LEVEL)
Toll
the
dead
(necromancy)
Word
ofradiance
(evocation)
1ST
LEVEL
Ceremony
(abjuration,
ritual)
3RD
LEVEL
Life
transference
(necromancy)
5TH
LEVEL
Dawn
(evocation)
Holy
weapon
(evocation)
7TH
LEVEL
Temple
ofthe
gods
(conjuration)
CANTRIPS
(o
LEVEL)
Controlflames
(transmutation)
Create
bonfire
(conjuration)
Frostbite
(evocation)
Gust
(transmutation)
infestation
(conjuration)
Magic
stone
(transmutation)
Mold
earth
(transmutation)
Primal
savagery
(transmutation)
Shape
water
(transmutation)
Thunderclap
(evocation)
1ST
LEVEL
Absorb
elements
(abjuration)
Beast
bond
(divination)
Earth
tremor
(evocation)
lce
knife
(conjuration)
Snare
(abjuration)
2ND
LEVEL
Dust
devil
(conjuration)
Earthbind
(transmutation)
Healing
spirit
(conjuration)
Skywrite
(transmutation,
ritual)
Wording
wind
(evocation)
--r---
_+.
__
"' '
'_
""_"
Ht-
.
..
|'-
l
.5-
.
l.
_
|
.:_
i
.-
i
r.
. .
I'_
..
-
I
:
L
.-
..
_
'.'
-.‘.
3
1.
.
,
F
Il-
‘
1
gen
LEVEL
Erupting
earth
(transmutation)
Flame
arrows
(transmutation)
Tidal
wave
(conjuration)
Wall
ofwater
(evocation)
4TH
LEVEL
Charm
monster
(enchantment)
Elemental
bane
(transmutation)
Guardian
ofnature
(transmutation)
Watery
sphere
(conjuration)
5TH
LEVEL
Control
winds
(transmutation)
Maelstrom
(evocation)
Transmute
rock
(transmutation)
Wrath
ofnature
(evocation)
6TH
LEVEL
Bones
ofthe
earth
(transmutation)
Druid
grove
(abjuratio
n)
lnvestiture
offlame
(transmutation)
lnvestiture
ofice
(transmutation)
lnvestiture
ofstone
(transmutation)
lnvestiture
ofwind
(transmutation)
Primordial
ward
(abjuration)
7TH
LEVEL
Whirlwind
(evocation)
PALADIN
SPELLS
1ST
LEVEL
Ceremony
(abjuration,
ritual)
4TH
LEVEL
Find
greater
steed
(conjuration)
5TH
LEVEL
Holy
weapon
(evocation)
RANGER
SPELLS
1ST
LEVEL
Absorb
elements
(abjuration)
Beast
bond
(divination)
Snare
(abjuration)
Zephyr
strike
(transmutation)
2N
o
LEVE
L
Healing
spirit
(conjuration)
3RD
LEVEL
Flame
arrows
(transmutation)
4TH
LEVEL
Guardian
ofnature
(transmutation)
5TH
LEVEL
Steel
wind
strike
(conjuration)
Wrath
ofnature
(evocation)
SORGERER
SPELLS
CANTRIPS
(o
LEVEL)
Controlflarnes
(transmutation)
Create
bonfire
(conjuration)
Frostbite
(evocation)
Gust
(transmutation)
infestation
(conjuration)
Mold
earth
(transmutation)
Shape
water
(transmutation)
Thunderclap
(evocation)
1ST
LEVEL
Absorb
elements
(abjuration)
Catapult
(transmutation)
Chaos
bolt
(evocation)
Earth
tremor
(evocation)
lce
knife
(conjuration)
2ND
LEVEL
Aganazzar’s
scorcher
(evocation)
Dragon's
breath
(transmutation)
Dust
devil
(conjuration)
Earthbind
(transmutation)
Maximilian’s
earthen
grasp
(transmutation)
Mind
spike
(divination)
Pyrotechnics
(transmutation)
Shadow
blade
(illusion)
Snilloc’s
snowball
swarm
(evocation)
Warding
wind
(evocation)
3RD
LEVEL
Catnap
(enchantment)
Enemies
abound
(enchantment)
Erupting
earth
(transmutation)
Flame
arrows
(transmutation)
Melf’s
minute
meteors
(evocation)
Thunder
step
(conjuration)
Tidal
wave
(conjuration)
Wall
ofwater
(evocation)
4TH
LEVEL
Charm
monster
(enchantment)
Sickening
radiance
(evocation)
Storm
sphere
(evocation)
Vitriolic
sphere
(evocation)
Watery
sphere
(conjuration)
5TH
LEVEL
Control
winds
(transmutation)
Enervation
(necromancy)
Far
step
(conjuration)
lmmolation
(evocation)
Skill
empowerment
(transmutation)
Synaptic
static
(enchantment)
Wall
oflight
(evocation)
6TH
LEVEL
lnvestiture
offlame
(transmutation)
lnvestiture
ofice
(transmutation)
lnvestiture
ofstone
(transmutation)
lnvestiture
ofwind
(transmutation)
Mental
prison
(illusion)
Scatter
(conjuration)
7TH
LEVEL
Crown
ofstars
(evocation)
Power
word
pain
(enchantment)
Whirlwind
(evocation)
8TH
LEVEL
Abi-Dalzim’s
horrid
wilting
(necromancy)
9TH
LEVEL
Mass
polymorph
(transmutation)
Psychic
scream
(enchantment)
WARLOCK
SPELLS
CANTRIPS
(o
LEVEL)
Create
bonfire
(conjuration)
Frostbite
(evocation)
infestation
(conjuration)
Magic
stone
(transmutation)
Thunderclap
(evocation)
Toll
the
dead
(necromancy)
1ST
LEVEL
Causefear
(necromancy)
2ND
LEVEL
Earthbind
(transmutation)
Mind
spike
(divination)
Shadow
blade
(illusion)
3RD
LEVEL
Enemies
abound
(enchantment)
Thunder
step
(conjuration)
Summon
lesser
demons
(conjuration)
4TH
LEVEL
Charm
monster
(enchantment)
Elemental
bane
(transmutation)
Shadow
ofmoil
(necromancy)
Sickening
radiance
(evocation)
Summon
greater
demon
(conjuration)
5TH
LEVEL
Danse
macabre
(necromancy)
Enervation
(necromancy)
Far
step
(conjuration)
infernal
calling
(conjuration)
Negative
energyflood
(necromancy)
Synaptic
static
(enchantment)
Wall
oflight
(evocation)
6TH
LEVEL
lnvestiture
offlame
(transmutation)
lnvestiture
ofice
(transmutation)
lnvestiture
ofstone
(transmutation)
lnvestiture
ofwind
(transmutation)
Mental
prison
(illusion)
Scatter
(conjuration)
Soul
cage
(necromancy)
7TH
LEVEL
Crown
ofstars
(evocation)
Power
word
pain
(enchantment)
3TH
LEVEL
Maddening
darkness
(evocation)
9TH
LEVEL
Psychic
scream
(enchantment)
WIZARD
SPELLS
CANTRIPS
(o
LEVEL)
Controlflames
(transmutation)
Create
bonfire
(conjuration)
Frostbite
(evocation)
Gust
(transmutation)
infestation
(conjuration)
Mold
earth
(transmutation)
Shape
water
(transmutation)
Thunderclap
(evocation)
Toll
the
dead
(necromancy)
tsT'LEVEL
Absorb
elements
(abjuration)
Catapult
(transmutation)
Causefear
(necromancy)
Earth
tremor
(evocation)
lce
knife
(conjuration)
Snare
(abjuration)
2N
D
LEVEL
Aganazzar’s
scorcher
(evocation)
Dragon's
breath
(transmutation)
Dust
devil
(conjuration)
Earthbind
(transmutation)
Maximilian’s
earthen
grasp
(transmutation)
lviind
spike
(divination)
Pyrotechnics
(transmutation)
Shadow
blade
(illusion)
Skvwrite
(transmutation,
ritual)
Snilloc’s
snowball
swarm
(evocation)
Wording
wind
(evocation)
3RD
LEVEL
Catnap
(enchantment)
Enemies
abound
(enchantment)
Erupting
earth
(transmutation)
Flame
arrows
(tra
ns
m
utation)
Life
transference
(necromancy)
Melf's
minute
meteors
(evocation)
Summon
lesser
demons
(conjuration)
Thunder
step
(conjuration)
Tidal
wave
(conjuration)
Tiny
servant
(transmutation)
Wall
ofsand
(evocation)
Wall
ofwater
(evocation)
4TH
LEVEL
Charm
monster
(enchantment)
Elemental
bane
(transmutation)
Sickening
radiance
(evocation)
Storm
sphere
(evocation)
Summon
greater
demon
(conjuration)
Vitriolic
sphere
(evocation)
Watery
sphere
(conjuration)
5TH
LEVEL
Control
winds
(transmutation)
Danse
macabre
(necromancy)
Dawn
(evocation)
Enervation
(necromancy)
Far
step
(conjuration)
lmmolation
(evocation)
infernal
calling
(conjuration)
Negative
energyflood
(necromancy)
Skill
empowerment
(transmutation)
Steel
wind
strike
(conjuration)
Synaptic
static
(enchantment)
Transmute
rock
(transmutation)
Wall
oflight
(evocation)
6TH
LEVEL
Create
homunculus
(transmutation)
investiture
offlame
(transmutation)
investiture
ofice
(transmutation)
investiture
ofstone
(transmutation)
investiture
ofwind
(transmutation)
Mentalprison
(illusion)
Scatter
(conjuration)
Soul
cage
(necromancy)
Tenser’s
transformation
(transmutation)
7TH
LEVEL
Crown
ofstars
(evocation)
Power
word
pain
(enchantment)
Whirlwind
(evocation)
8TH
LEVEL
Abi-Dalzim’s
horrid
wilting
(necromancy)
illusory
dragon
(illusion)
Maddening
darkness
(evocation)
Mightyfortress
(conju
ration)
9TH
LEVEL
lnuulnerabiiity
(abjuration)
Mass
polymorph
(transmutation)
Psychic
scream
(enchantment)
-.-.-—i-
-
...--__._3.
SWIM-uni:
-—
..
.
_
———-_.-.-|.-i_
.1.
._ .
w..‘.-__'-
_
SPELL
DESCRIPTIONS
The
spells
are
presented
in
alphabetical
order.
AEI-DALZIM’S
HORRID
WILTING
8thuleve1
necromancy
Casting
Time:
1
action
Range:
150
feet
Components:
V,
S,
M
(a
bit
of
sponge)
Duration:
Instantaneous
You
draw
the
moisture
from
every
creature
in
a
30-foot
cube
centered
on
a
point
you
choose
within
range.
Each
creature
in
that
area
must
make
a
Constitution
saving
throw.
Constructs
and
undead
aren’t
affected,
and
plants
and
water
elementals
make
this
saving
throw
with
dis—
advantage.
A
creature
takes
12d8
necrotic
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
Nonmagical
plants
in
the
area
that
aren’t
creatures,
such
as
trees
and
shrubs,
wither
and
die
instantly.
ABSORB
ELEMENTS
lst—level
abjuration
Casting
Time:
1
reaction,
which
you
take
when
you
take
acid,
cold,
fire,
lightning,
or
thunder
damage
Range:
Self
Components:
8
Duration:
1
round
The
spell
captures
some
of
the
incoming
energy,
less—
ening
its
effect
on
you
and
storing
it
for
your
next
melee
attack.
You
have
resistance
to
the
triggering
damage
type
until
the
start
of
your
next
turn.
Also,
the
first
time
you
hit
with
a
melee
attack
on
your
next
turn,
the
target
takes
an
extra
1d6
damage
of
the
triggering
type,
and
the
spell
ends.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
2nd
level
or
higher,
the
extra
damage
in-
creases
by
1d6
for
each
slot
level
above
lst.
AGANAEZAR’S
SCORCHER
2nd—ievel
evocation
Casting
Time:
1
action
Range:
30
feet
Components:
V,
S,
M
(a
red
dragon’s
scale)
Duration:
Instantaneous
A
line
of
roaring
flame
30
feet
long
and
5
feet
wide
ema-
nates
from
you
in
a
direction
you
choose.
Each
creature
in
the
line
must
make
a
Dexterity
saving
throw.
A
crea—
ture
takes
3d8
fire
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
3rd
level
or
higher.
the
damage
increases
by
MB
for
each
slot
level
above
2nd.
BEAST
BOND
lat-level
divination
Casting
Time:
1
action
Range:
Touch
Components:
V,
S,
M
(a
bit
of
fur
wrapped
in
a
cloth)
Duration:
Concentration,
up
to
10
minutes
You
establish
a
telepathic
link
with
one
beast
you
touch
that
is
friendly
to
you
or
charmed
by
you.
The
spell
fails
_
i“'.':i,-"~.F-'l'lii-:
':'-.
i
Fi-‘lLi
is
if
the
beasts
Intelligence
score
is
4
or
higher.
Until
the
spell
ends,
the
link
is
active
while
you
and
the
beast
are
within
line
of
sight
of
each
other.
Through
the
link,
the
beast
can
understand
your
telepathic
messages
to
it,
and
it
can
telepathically
communicate
simple
emotions
and
concepts
back
to
you.
While
the
link
is
active,
the
beast
gains
advantage
on
attack
rolls
against
any
crea-
ture
within
5
feet
of
you
that
you
can
see.
BONES
or
THE
EARTH
(fin—[eve]
transmutation
Casting
Time:
1
action
Range:
120
feet
Components:
V,
S
Duration:
Instantaneous
You
cause
up
to
six
pillars
of
stone
to
burst
from
places
on
the
ground
that
you
can
see
within
range.
Each
pillar
is
a
cylinder
that
has
a
diameter
of
5
feet
and
a
height
of
up
to
30
feet.
The
ground
where
a
pillar
appears
must
be
wide
enough
for
its
diameter,
and
you
can
target
the
ground
under
a
creature
if
that
creature
is
Medium
or
smaller.
Each
pillar
has
AC
5
and
30
hit
points.
When
reduced
to
0
hit
points,
a
pillar
crumbles
into
rubble,
which
creates
an
area
of
difficult
terrain
with
a
10-
foot
radius
that
lasts
until
the
rubble
is
cleared.
Each
5—foot-diameter
portion
of
the
area
requires
at
least
1
minute
to
clear
by
hand.
If
a
pillar
is
created
under
a
creature,
that
creature
must
succeed
on
a
Dexterity
saving
throw
or
be
lifted
by
the
pillar.
A
creature
can
choose
to
fail
the
save.
If
a
pillar
is
prevented
from
reaching
its
full
height
because
of
a
ceiling
or
other
obstacle,
a
creature
on
the
pillar
takes
6d6
bludgeoning
damage
and
is
restrained,
pinched
between
the
pillar
and
the
obstacle.
The
re—
strained
creature
can
use
an
action
to
make
a
Strength
or
Dexterity
check
(the
creature’s
choice)
against
the
spell’s
save
DC.
On
a
success,
the
creature
is
no
lon—
ger
restrained
and
must
either
move
off
the
pillar
or
fall
off
it.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
7th
level
or
higher,
you
can
create
two
addi—
tional
pillars
for
each
slot
level
above
6th.
CATAPULT
lstJevel
transmutation
Casting
Time:
1
action
Range:
60
feet
Components:
S
Duration:
Instantaneous
Choose
one
object
weighing
1
to
5
pounds
within
range
that
isn’t
being
worn
or
carried.
The
object
flies
in
a
straight
line
up
to
90
feet
in
a
direction
you
choose
before
falling
to
the
ground,
stopping
early
if
it
impacts
against
a
solid
surface.
If
the
object
would
strike
a
crea-
ture,
that
creature
must
make
a
Dexterity
saving
throw.
On
a
failed
save,
the
object
strikes
the
target
and
stops
moving.
When
the
object
strikes
something,
the
object
and
what
it
strikes
each
take
3d8
bludgeoning
damage.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
2nd
level
or
higher,
the
maximum
weight
of
objects
that
you
can
target
with
this
spell
increases
by
5
pounds,
and
the
damage
increases
by
1d8,
for
each
slot
level
above
Ist.
._,_._
___,___
l!
CATNAP
3rd—level
enchantment
Casting
Time:
1
action
Range:
30
feet
Components:
S,
M
(a
pinch
of
sand)
Duration:
10
minutes
You
make
a
calming
gesture,
and
up
to
three
willing
creatures
of
your
choice
that
you
can
see
within
range
fall
unconscious
for
the
spell’s
duration.
The
spell
ends
on
a
target
early
if
it
takes
damage
or
someone
uses
an
action
to
shake
or
slap
it
awake.
If
a
target
remains
un-
conscious
for
the
full
duration,
that
target
gains
the
ben—
efit
of
a
short
rest,
and
it
can’t
be
affected
by
this
spell
again
until
it
finishes
a
long
rest.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
4th
level
or
higher,
you
can
target
one
addi-
tional
willing
creature
for
each
slot
level
above
3rd.
CAUSEFEAR
lat-level
necromancy
Casting
Time:
1
action
Range:
60
feet
Components:
V
Duration:
Concentration,
up
to
1
minute
You
awaken
the
sense
of
mortality
in
one
creature
you
can
see
within
range.
A
construct
or
an
undead
is
im-
mune
to
this
effect.
The
target
must
succeed
on
a
Wis—
dom
saving
throw
or
become
frightened
of
you
until
the
spell
ends.
The
frightened
target
can
repeat
the
saving
throw
at
the
end
of
each
of
its
turns,
ending
the
effect
on
itself
on
a
success.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
2nd
level
or
higher,
you
can
target
one
additional
creature
for
each
slot
level
above
lst.
The
creatures
must
be
within
30
feet
of
each
other
when
you
target
them.
CEREMONY
lst—Ievel
abjurarion
(ritual)
Casting
Time:
1
hour
Range:
Touch
Components:
V,
S,
M
(25
gp
worth
of
powdered
silver,
which
the
spell
consumes)
Duration:
Instantaneous
You
perform
a
special
religious
ceremony
that
is
infused
with
magic.
When
you
cast
the
spell,
choose
one
of
the
following
rites,
the
target
of
which
must
be
within
10
feet
of
you
throughout
the
casting.
Atonement.
You
touch
one
willing
creature
whose
alignment
has
changed,
and
you
make
a
DC
20
Wisdom
(Insight)
check.
On
a
successful
check,
you
restore
the
target
to
its
original
alignment.
Bless
Water.
You
touch
one
vial
of
water
and
cause
it
to
become
holy
water.
Coming
one.
You
touch
one
humanoid
who
is
a
young
adult.
For
the
next
24
hours,
whenever
the
target
makes
an
ability
check,
it
can
roll
a
d4
and
add
the
num-
ber
rolled
to
the
ability
check.
A
creature
can
benefit
from
this
rite
only
once.
Dedication.
You
touch
one
humanoid
who
wishes
to
be
dedicated
to
your
god’s
service.
For
the
next
24
hours,
whenever
the
target
makes
a
saving
throw,
it
can
roll
a
d4
and
add
the
number
rolled
to
the
save.
A
crea—
ture
can
benefit
from
this
rite
only
once.
Funeral
Rite.
You
touch
one
corpse,
and
for
the
next
7
days,
the
target
can’t
become
undead
by
any
means
short
of
a
wish
spell.
Wedding.
You
touch
adult
humanoids
willing
to
be
bonded
together
in
marriage.
For
the
next
7
days,
each
target
gains
a
+2
bonus
to
AC
while
they
are
within
30
feet
of
each
other.
A
creature
can
benefit
from
this
rite
again
only
if
widowed.
CHAOSBOUT
Jet—level
evocation
Casting
Time:
1
action
Range:
120
feet
Components:
V,
8
Duration:
Instantaneous
You
hurl
an
undulating,
warbling
mass
of
chaotic
energy
at
one
creature
in
range.
Make
a
ranged
spell
attack
against
the
target.
On
a
hit,
the
target
takes
2d8
+
1d6
damage.
Choose
one
of
the
dSs.
The
number
rolled
on
that
die
determines
the
attacks
damage
type,
as
shown
below.
D.
00
Damage
Type
Acid
Cold
Fire
Force
Lightning
Poison
Psychic
Thunder
DONChU'l-P-UJN-J
If
you
roll
the
same
number
on
both
d85,
the
chaotic
energy
leaps
from
the
target
to
a
different
creature
of
your
choice
within
30
feet
of
it.
Make
a
new
attack
roll
against
the
new
target,
and
make
a
new
damage
roll,
which
could
cause
the
chaotic
energy
to
leap
again.
A
creature
can
be
targeted
only
once
by
each
casting
of
this
spell.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
2nd
level
or
higher,
each
target
takes
1d6
extra
damage
of
the
type
rolled
for
each
slot
level
above
1st.
(haARarhAONSTER
4th-1eve1
enchantment
Casting
Time:
1
action
Range:
30
feet
Components:
V,
S
Duration:
1
hour
You
attempt
to
charm
a
creature
you
can
see
within
range.
It
must
make
a
Wisdom
saving
throw,
and
it
does
so
with
advantage
if
you
or
your
companions
are
fight-
ing
it.
If
it
fails
the
saving
throw,
it
is
charmed
by
you
until
the
spell
ends
or
until
you
or
your
companions
do
anything
harmful
to
it.
The
charmed
creature
is
friendly
to
you.
When
the
spell
ends,
the
creature
knows
it
was
charmed
by
you.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
5th
level
or
higher,
you
can
target
one
additional
creature
for
each
slot
level
above
4th.
The
creatures
must
be
within
30
feet
of
each
other
when
you
target
them.
CONTROL
FLAMES
Transmutation
cantrr'p
Casting
Time:
1
action
Range:
60
feet
Components:
8
Duration:
Instantaneous
or
1
hour
(see
below)
You
choose
a
nonmagical
flame
that
you
can
see
within
range
and
that
fits
within
a
5-foot
cube.
You
affect
it
in
one
of
the
following
ways:
-
You
instantaneously
expand
the
flame
5
feet
in
one
direction,
provided
that
wood
or
other
fuel
is
present
in
the
new
location.
-
You
instantaneously
extinguish
the
flames
within
the
cube.
.
You
double
or
halve
the
area
of
bright
light
and
dim
light
cast
by
the
flame,
change
its
color,
or
both.
The
change
lasts
for
1
hour.
-
You
cause
simple
shapes—such
as
the
vague
form
of
a
creature,
an
inanimate
object,
or
a
location—to
appear
within
the
flames
and
animate
as
you
like.
The
shapes
last
for
1
hour.
Ifyou
cast
this
spell
multiple
times,
you
can
have
up
to
three
non-instantaneous
effects
created
by
it
active
at
a
time,
and
you
can
dismiss
such
an
effect
as
an
action.
CONTROL
WINDS
5th-ievef
transmutation
Casting
Time:
1
action
Range:
300
feet
Components:
V,
S
Duration:
Concentration,
up
to
1
hour
You
take
control
of
the
air
in
a
100m
cube
that
you
can
see
within
range.
Choose
one
of
the
following
ef—
fects
when
you
cast
the
spell.
The
effect
lasts
for
the
spell’s
duration,
unless
you
use
your
action
on
a
later
turn
to
switch
to
a
different
effect.
You
can
also
use
your
action
to
temporarily
halt
the
effect
or
to
restart
one
you‘ve
halted.
Gusts.
A
wind
picks
up
within
the
cube,
continu~
ally
blowing
in
a
horizontal
direction
you
designate.
You
choose
the
intensity
of
the
wind:
calm,
moderate,
or
strong.
If
the
wind
is
moderate
or
strong,
ranged
weapon
attacks
that
enter
or
leave
the
cube
or
pass
through
it
have
disadvantage
on
their
attack
rolls.
If
the
wind
is
strong,
any
creature
moving
against
the
wind
must
spend
1
extra
foot
of
movement
for
each
foot
moved.
Downdraft.
You
cause
a
sustained
blast
of
strong
wind
to
blow
downward
from
the
top
of
the
cube.
Ranged
weapon
attacks
that
pass
through
the
cube
or
that
are
made
against
targets
within
it
have
disad—
vantage
on
their
attack
rolls.
A
creature
must
make
a
Strength
saving
throw
if
it
flies
into
the
cube
for
the
first
time
on
a
turn
or
starts
its
turn
there
flying.
On
a
failed
save,
the
creature
is
knocked
prone.
Updrafi.
You
cause
a
sustained
updraft
within
the
cube,
rising
upward
from
the
cube's
bottom
side.
Crear
tures
that
end
a
fall
within
the
cube
take
only
half
dam-
age
from
the
fall.
When
a
creature
in
the
cube
makes
a
vertical
jump,
the
creature
can
jump
up
to
10
feet
higher
than
normal.
CREATE
BONFIRE
i
Conjuration
cantrip
Casting
Time:
1
action
:
Range:
60
feet
i
Components:
V,
S
i
Duration:
Concentration,
up
to
1
minute
You
create
a
bonfire
on
ground
that
you
can
see
within
range.
Until
the
spell
ends,
the
magic
bonfire
fills
a
l
5-foot
cube.
Any
creature
in
the
bonfire’s
space
when
l
you
cast
the
spell
must
succeed
on
a
Dexterity
saving
,
throw
or
take
1d8
fire
damage.
A
creature
must
also
make
the
saving
throw
when
it
moves
into
the
bonfire’s
space
for
the
first
time
on
a
turn
or
ends
its
turn
there.
The
bonfire
ignites
flammable
objects
in
its
area
that
aren’t
being
worn
or
carried.
The
spell’s
damage
increases
by
1d8
when
you
reach
5th
level
(2d8),
11th
level
(3d8),
and
17th
level
(4d8).
CREATE
HOMUNCULUS
6th-Ieve1
transmutation
Casting
Time:
1
hour
Range:
Touch
Components:
V,
S,
M
(clay,
ash,
and
mandrake
root,
all
of
which
the
spell
consumes,
and
a
jewel-encrusted
dagger
worth
at
least
1,000
gp)
Duration:
Instantaneous
While
speaking
an
intricate
incantation,
you
cut
your—
self
with
a
jewel-encrusted
dagger,
taking
2d4
piercing
damage
that
can’t
be
reduced
in
any
way.
You
then
drip
your
blood
on
the
spell’s
other
components
and
touch
them,
transforming
them
into
a
special
construct
called
a
homunculus.
The
statistics
of
the
homunculus
are
in
the
Monster
Manual.
It
is
your
faithful
companion,
and
it
dies
ifyou
die.
Whenever
you
finish
a
long
rest,
you
can
spend
up
to
half
your
Hit
Dice
if
the
homunculus
is
on
the
same
plane
of
existence
as
you.
When
you
do
so,
roll
each
die
and
add
your
Constitution
modifier
to
it.
Your
hit
point
maximum
is
reduced
by
the
total,
and
the
homun-
culus’s
hit
point
maximum
and
current
hit
points
are
both
increased
by
it.
This
process
can
reduce
you
to
no
lower
than
1
hit
point.
and
the
change
to
your
and
the
homunculus’s
hit
points
ends
when
you
finish
your
next
long
rest.
The
reduction
to
your
hit
point
maximum
can’t
be
removed
by
any
means
before
then,
except
by
the
ho-
munculus‘s
death.
You
can
have
only
one
homunculus
at
a
time.
If
you
cast
this
spell
while
your
homunculus
lives,
the
spell
fails.
CROWN
or
STARS
7rh-1eve1
evocation
Casting
Time:
1
action
Range:
Self
3
Components:
V,
8
Duration:
1
hour
Seven
star-like
motes
of
light
appear
and
orbit
your
head
until
the
spell
ends.
You
can
use
a
bonus
action
to
send
one
of
the
motes
streaking
toward
one
creature
or
object
within
120
feet
of
you.
When
you
do
so,
make
a
ranged
spell
attack.
On
a
hit.
the
target
takes
4d12
radiant
damage.
Whether
you
hit
or
miss,
the
mote
is
ex—
pended.
The
spell
ends
early
if
you
expend
the
last
mote.
If
you
have
four
or
more
motes
remaining,
they
shed
bright
light
in
a
30-foot
radius
and
dim
light
for
an
addi—
tional
30
feet.
Ifyou
have
one
to
three
motes
remaining,
they
shed
dim
light
in
a
30—foot
radius.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
8th
level
or
higher,
the
number
of
motes
cre-
ated
increases
by
two
for
each
slot
level
above
7th.
DANSE
MACABRB
5
th-Ieve]
necromancy
Casting
Time:
1
action
Range:
60
feet
Components:
V,
S
Duration:
Concentration,
up
to
1
hour
Threads
of
dark
power
leap
from
your
fingers
to
pierce
up
to
five
Small
or
Medium
corpses
you
can
see
within
range.
Each
corpse
immediately
stands
up
and
becomes
undead.
You
decide
whether
it
is
a
zombie
or
a
skeleton
(the
statistics
for
zombies
and
skeletons
are
in
the
Mon-
DANSE
Mneasne
ster
Manual),
and
it
gains
a
bonus
to
its
attack
and
dam-
age
rolls
equal
to
your
spellcasting
ability
modifier.
You
can
use
a
bonus
action
to
mentally
command
the
creatures
you
make
with
this
spell,
issuing
the
same
command
to
all
of
them.
To
receive
the
command,
a
creature
must
be
within
60
feet
of
you.
You
decide
what
action
the
creatures
will
take
and
where
they
will
move
during
their
next
turn,
or
you
can
issue
a
general
command,
such
as
to
guard
a
chamber
or
passageway
against
your
foes.
lfyou
issue
no
commands,
the
crea—
tures
do
nothing
except
defend
themselves
against
hostile
creatures.
Once
given
an
order,
the
creatures
continue
to
follow
it
until
their
task
is
complete.
The
creatures
are
under
your
control
until
the
spell
ends,
after
which
they
become
inanimate
once
more.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot‘
of
6th
level
or
higher,
you
animate
up
to
two
additional
corpses
for
each
slot
level
above
5th.
DAWN
5th—1eve1
evocation
Casting
Time:
1
action
Range:
60
feet
Components:
V,
S,
M
(a
sunburst
pendant
worth
at
least
100
gp)
Duration:
Concentration,
up
to
1
minute
The
light
of
dawn
shines
down
on
a
location
you
spec-
ify
within
range.
Until
the
spell
ends,
a
30—foot-radius.
40-foot-high
cylinder
of
bright
light
glimmers
there.
This
light
is
sunlight.
When
the
cylinder
appears,
each
creature
in
it
must
make
a
Constitution
saving
throw,
taking
4d10
radiant
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
A
creature
must
also
make
this
saving
throw
whenever
it
ends
its
turn
in
the
cylinder.
If
you’re
within
60
feet
of
the
cylinder,
you
can
move
it
up
to
60
feet
as
a
bonus
action
on
your
turn.
DRAGON’S
BREATH
2nd—level
transmutation
Casting
Time:
1
bonus
action
Range:
Touch
Components:
V,
S,
M
(a
hot
pepper)
Duration:
Concentration,
up
to
1
minute
You
touch
one
willing
creature
and
imbue
it
with
the
power
to
spew
magical
energy
from
its
mouth,
provided
it
has
one.
Choose
acid,
cold,
fire,
lightning,
or
poison.
Until
the
spell
ends,
the
creature
can
use
an
action
to
exhale
energy
of
the
chosen
type
in
a
15-foot
cone.
Each
creature
in
that
area
must
make
a
Dexterity
saving
throw,
taking
3d6
damage
of
the
chosen
type
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
3rd
level
or
higher,
the
damage
increases
by
ldé
for
each
slot
level
above
2nd.
DRUI
D
GROVE
6
tli~level
abjuration
Casting
Time:
10
minutes
Range:
Touch
Components:
V,
S,
M
(mistletoe,
which
the
spell
con—
sumes,
that
was
harvested
with
a
golden
sickle
under
the
light
of
a
full
moon)
Duration:
24
hours
You
invoke
the
spirits
of
nature
to
protect
an
area
out—
doors
or
underground.
The
area
can
be
as
small
as
a
30—foot
cube
or
as
large
as
a
90-foot
cube.
Buildings
and
other
structures
are
excluded
from
the
affected
area.
If
you
cast
this
spell
in
the
same
area
every
day
for
a
year,
the
spell
lasts
until
dispelled.
The
spell
creates
the
following
effects
within
the
area.
When
you
cast
this
spell,
you
can
specify
creatures
as
friends
who
are
immune
to
the
effects.
You
can
also
specify
a
password
that,
when
spoken
aloud,
makes
the
speaker
immune
to
these
effects.
The
entire
warded
area
radiates
magic.
A
dispel
magic
cast
on
the
area,
if
successful,
removes
only
one
of
the
following
effects,
not
the
entire
area.
That
spell’s
caster
chooses
which
effect
to
end.
Only
when
all
its
effects
are
gone
is
this
spell
dispelled.
SolidFog.
You
can
fill
any
number
of
5-foot
squares
on
the
ground
with
thick
fog,
making
them
heavily
ob—
scured.
The
fog
reaches
10
feet
high.
In
addition,
every
foot
of
movement
through
the
fog
costs
2
extra
feet.
To
a
creature
immune
to
this
effect,
the
fog
obscures
nothing
and
looks
like
soft
mist,
with
motes
of
green
light
float—
ing
in
the
air.
Grasping
Undergrowth.
You
can
fill
any
number
of
5-foot
squares
on
the
ground
that
aren’t
filled
with
fog
with
grasping
weeds
and
vines,
as
if
they
were
affected
by
an
entangle
spell.
To
a
creature
immune
to
this
effect,
the
weeds
and
vines
feel
soft
and
reshape
themselves
to
serve
as
temporary
seats
or
beds.
Grove
Guardians.
You
can
animate
up
to
four
trees
in
the
area,
causing
them
to
uproot
themselves
from
the
ground.
These
trees
have
the
same
statistics
as
an
awakened
tree,
which
appears
in
the
Monster
Manual,
except
they
can’t
speak,
and
their
bark
is
covered
with
druidic
symbols.
If
any
creature
not
immune
to
this
effect
enters
the
warded
area,
the
grove
guardians
fight
until
they
have
driven
off
or
slain
the
intruders.
The
grove
guardians
also
obey
your
spoken
commands
(no
action
required
by
you)
that
you
issue
while
in
the
area.
Ifyou
don't
give
them
commands
and
no
intruders
are
present,
the
grove
guardians
do
nothing.
The
grove
guardians
can‘t
leave
the
warded
area.
When
the
spell
ends,
the
magic
animating
them
disappears,
and
the
trees
take
root
again
if
possible.
Additional
Spell
Efi'ect.
You
can
place
your
choice
of
one
of
the
following
magical
effects
within
the
warded
area:
-
A
constant
gust
of
Wind
in
two
locations
of
your
choice
.
Spike
growth
in
one
location
of
your
choice
-
Wind
wall
in
two
locations
of
your
choice
To
a
creature
immune
to
this
effect,
the
winds
are
a
fragrant,
gentle
breeze,
and
the
area
of
spike
growth
is
harmless.
DUST
D
EVIL
2nd-level
conjuration
Casting
Time:
1
action
Range:
60
feet
Components:
V,
S,
M
(a
pinch
of
dust)
Duration:
Concentration,
up
to
1
minute
Choose
an
unoccupied
5—foot
cube
of
air
that
you
can
see
within
range.
An
elemental
force
that
resembles
a
dust
devil
appears
in
the
cube
and
lasts
for
the
spell’s
duration.
Any
creature
that
ends
its
turn
within
5
feet
of
the
dust
devil
must
make
a
Strength
saving
throw.
On
a
failed
save,
the
creature
takes
1d8
bludgeoning
damage
and
is
pushed
10
feet
away
from
the
dust
devil.
On
a
suc-
cessful
save,
the
creature
takes
half
as
much
damage
and
isn’t
pushed.
As
a
bonus
action,
you
can
move
the
dust
devil
up
to
30
feet
in
any
direction.
If
the
dust
devil
moves
over
sand,
dust,
loose
dirt,
or
light
gravel,
it
sucks
up
the
ma-
terial
and
forms
a
10-foot-radius
cloud
of
debris
around
itself
that
lasts
until
the
start
of
your
next
turn.
The
cloud
heavily
obscures
its
area.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
3rd
level
or
higher,
the
damage
increases
by
ld8
for
each
slot
level
above
2nd.
E
A
RTH
B
I
N D
2nd-level
transmutation
Casting
Time:
1
action
Range:
300
feet
Components:
V
Duration:
Concentration,
up
to
1
minute
Choose
one
creature
you
can
see
within
range.
Yellow
strips
of
magical
energy
loop
around
the
creature.
The
target
must
succeed
on
a
Strength
saving
throw,
or
its
flying
speed
(if
any)
is
reduced
to
0
feet
for
the
spell’s
du-
ration.
An
airborne
creature
affected
by
this
spell
safely
descends
at
60
feet
per
round
until
it
reaches
the
ground
or
the
spell
ends.
EARTH
TREMOR
list—level
evocation
Casting
Time:
1
action
Range:
10
feet
Components:
V,
5
Duration:
Instantaneous
You
cause
a
tremor
in
the
ground
within
range.
Each
creature
other
than
you
in
that
area
must
make
a
Dex—
terity
saving
throw.
On
a
failed
save,
a
creature
takes
1d6
bludgeoning
damage
and
is
knocked
prone.
If
the
ground
in
that
area
is
loose
earth
or
stone,
it
becomes
difficult
terrain
until
cleared,
with
each
5-foot-diameter
portion
requiring
at
least
1
minute
to
clear
by
hand.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
2nd
level
or
higher,
the
damage
increases
by
1d6
for
each
slot
level
above
lst.
ELEMENTAL
BANE
4th-1evel
transmutation
Casting
Time:
1
action
Range:
90
feet
Components:
V,
S
Duration:
Concentration,
up
to
1
minute
Choose
one
creature
you
can
see
within
range,
and
choose
one
of
the
following
damage
types:
acid,
cold,
fire,
lightning,
or
thunder.
The
target
must
succeed
on
a
Constitution
saving
throw
or
be
affected
by
the
spell
for
its
duration.
The
first
time
each
turn
the
affected
target
takes
damage
of
the
chosen
type,
the
target
takes
an
ex—
tra
2d6
damage
of
that
type.
Moreover,
the
target
loses
any
resistance
to
that
damage
type
until
the
spell
ends.
At
Higher
Levels.
When
you
cast
this
Spell
using
a
spell
slot
of
5th
level
or
higher,
you
can
target
one
additional
creature
for
each
slot
level
above
4th.
The
creatures
must
be
within
30
feet
of
each
other
when
you
target
them.
ENEMIES
ABOUND
3rd—ievei
enchantment
Casting
Time:
1
action
Range:
120
feet
Components:
V,
S
Duration:
Concentration,
up
to
1
minute
You
reach
into
the
mind
of
one
creature
you
can
see
and
force
it
to
make
an
Intelligence
saving
throw.
A
creature
automatically
succeeds
if
it
is
immune
to
being
fright—
ened.
On
a
failed
save,
the
target
loses
the
ability
to
dis-
tinguish
friend
from
foe,
regarding
all
creatures
it
can
see
as
enemies
until
the
spell
ends.
Each
time
the
target
takes
damage,
it
can
repeat
the
saving
throw,
ending
the
effect
on
itself
on
a
success.
Whenever
the
affected
creature
chooses
another
creature
as
a
target,
it
must
choose
the
target
at
random
from
among
the
creatures
it
can
see
within
range
of
the
attack,
spell,
or
other
ability
it’s
using.
If
an
enemy
pro-
vokes
an
opportunity
attack
from
the
affected
creature,
the
creature
must
make
that
attack
if
it
is
able
to.
ENERVATION
5th-1eve1
necromancy
Casting
Time:
1
action
Range:
60
feet
Components:
V,
8
Duration:
Concentration,
Up
to
1
minute
A
tendril
of
inky
darkness
reaches
out
from
you,
touch-
ing
a
creature
you
can
see
within
range
to
drain
life
from
it.
The
target
must
make
a
Dexterity
saving
throw.
On
a
successful
save,
the
target
takes
2d8
necrotic
dam—
age,
and
the
spell
ends.
On
a
failed
save,
the
target
takes
4d8
necrotic
damage,
and
until
the
spell
ends,
you
can
use
your
action
on
each
of
your
turns
to
automatically
deal
4d8
necrotic
damage
to
the
target.
The
spell
ends
ifyou
use
your
action
to
do
anything
else,
ifthe
target
is
ever
outside
the
spell’s
range,
or
if
the
target
has
total
cover
from
you.
Whenever
the
spell
deals
damage
to
a
target,
you
re
gain
hit
points
equal
to
half
the
amount
of
necrotic
dam-
age
the
target
takes.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
6th
level
or
higher,
the
damage
increases
by
MB
for
each
slot
level
above
5th.
ERUPTING
EARTH
3rd—Ieve1
transmutation
Casting
Time:
1
action
Range:
120
feet
Components:
V,
S,
M
(a
piece
of
obsidian)
Duration:
Instantaneous
Choose
a
point
you
can
see
on
the
ground
within
range.
A
fountain
of
churned
earth
and
stone
erupts
in
a
20—
foot
cube
centered
on
that
point.
Each
creature
in
that
area
must
make
a
Dexterity
saving
throw.
A
creature
takes
3d12
bludgeoning
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
Additionally,
the
ground
in
that
area
becomes
difficult
terrain
until
cleared.
Each
5-foot-square
portion
of
the
area
requires
at
least
1
minute
to
clear
by
hand.
AtHfgher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
4th
level
or
higher,
the
damage
increases
by
ld12
for
each
slot
level
above
3rd.
FAR
STEP
5th—1eve1
conjuration
Casting
Time:
1
bunus
action
Range:
Self
Components:
V
Duration:
Concentration,
up
to
1
minute
You
teleport
up
to
60
feet
to
an
unoccupied
space
you
can
see.
On
each
of
your
turns
before
the
spell
ends,
you
can
use
a
bonus
action
to
teleport
in
this
way
again.
t‘li
-'\
l-“'i'1-I
it
7.
'
32.5%?t
'
__
3pc.
"
"'.-.I'-:=-.="""-=
FIND
GREATER
STEED
4t'h'1eve]
conjuration
Casting
Time:
10
minutes
Range:
30
feet
Components:
V,
S
Duration:
Instantaneous
You
summon
a
spirit
that
assumes
the
form
of
a
loyal,
majestic
mount.
Appearing
in
an
unoccupied
space
within
range,
the
spirit
takes
on
a
form
you
choose:
a
griffon,
a
pegasus,
a
peryton,
a
dire
wolf,
a
rhinoceros,
or
a
saber—toothed
tiger.
The
creature
has
the
statistics
provided
in
the
Monster
Manual
for
the
chosen
form,
though
it
is
a
celestial,
a
fey,
or
a
fiend
(your
choice)
instead
of
its
normal
creature
type.
Additionally,
if
it
has
an
Intelligence
score
of
5
or
lower,
its
Intelligence
becomes
6,
and
it
gains
the
ability
to
understand
one
language
of
your
choice
that
you
speak.
You
control
the
mount
in
combat.
While
the
mount
is
within
1
mile
of
you,
you
can
communicate
with
it
te1e~
pathically.
While
mounted
on
it,
you
can
make
any
spell
you
cast
that
targets
only
you
also
target
the
mount.
The
mount
disappears
temporarily
when
it
drops
to
0
hit
points
or
when
you
dismiss
it
as
an
action.
Casting
this
spell
again
re—summons
the
bonded
mount,
with
all
its
hit
points
restored
and
any
conditions
removed.
You
can’t
have
more
than
one
mount
bonded
by
this
spell
or
find
steed
at
the
same
time.
As
an
action,
you
can
release
a
mount
from
its
bond,
causing
it
to
disap-
pear
permanently.
Whenever
the
mount
disappears,
it
leaves
behind
any
objects
it
was
wearing
or
carrying.
Fwo
GREATER
STEED
FLAME
ARROWS
3rd—Ieve1
transmutation
Casting
Time:
1
action
Range:
Touch
Components:
V,
S
Duration:
Concentration,
up
to
1
hour
You
touch
a
quiver
containing
arrows
or
bolts.
When
a
target
is
hit
by
a
ranged
weapon
attack
using
a
piece
of
ammunition
drawn
from
the
quiver,
the
target
takes
an
extra
1(16
fire
damage.
The
spell’s
magic
ends
on
a
piece
of
ammunition
when
it
hits
or
misses,
and
the
spell
ends
when
twelve
pieces
of
ammunition
have
been
drawn
from
the
quiver.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
4th
level
or
higher,
the
number
of
pieces
of
ammunition
you
can
affect
with
this
spell
increases
by
two
for
each
slot
level
above
3rd.
F
RO
STBITE
Evocation
cantrip
Casting
Time:
1
action
Range:
60
feet
Components:
V,
8
Duration:
Instantaneous
You
cause
numbing
frost
to
form
on
one
creature
that
you
can
see
within
range.
The
target
must
make
a
Constitution
saving
throw.
On
a
failed
save,
the
target
takes
1d6
cold
damage,
and
it
has
disadvantage
on
the
next
weapon
attack
roll
it
makes
before
the
end
of
its
next
turn.
F
The
spell’s
damage
increases
by
1d6
when
you
reach
5th
level
(2d6),
11th
level
(3d6),
and
17th
level
(4d6).
GUARDIAN
OF
NATURE
4th—level
transmutation
Casting
Time:
1
bonus
action
Range:
Self
Components:
V
Duration:
Concentration,
up
to
1
minute
A
nature
spirit
answers
your
call
and
transforms
you
into
a
powerful
guardian.
The
transformation
lasts
until
the
spell
ends.
You
choose
one
of
the
following
forms
to
assume:
Primal
Beast
or
Great
Tree.
Primal
Beast.
Bestial
fur
covers
your
body,
your
facial
features
become
feral,
and
you
gain
the
follow-
ing
benefits:
-
Your
walking
speed
increases
by
10
feet.
-
You
gain
darkvision
with
a
range
of
120
feet.
-
You
make
Strength—based
attack
rolls
with
advantage.
-
Your
melee
weapon
attacks
deal
an
extra
1d6
force
damage
on
a
hit.
Great
Tree.
Your
skin
appears
barky,
leaves
sprout
from
your
hair,
and
you
gain
the
following
benefits:
.
You
gain
10
temporary
hit
points.
-
You
make
Constitution
saving
throws
with
advantage.
-
You
make
Dexterity-
and
Wisdom-based
attack
rolls
with
advantage.
-
While
you
are
on
the
ground,
the
ground
within
15
feet
of
you
is
difficult
terrain
for
your
enemies.
GUST
Transmutati'on
cantrlp
Casting
Time:
1
action
Range:
30
feet
Components:
V,
8
Duration:
Instantaneous
You
seize
the
air
and
compel
it
to
create
one
of
the
fol—
lowing
effects
at
a
point
you
can
see
within
range:
-
One
Medium
or
smaller
creature
that
you
choose
must
succeed
on
3
Strength
saving
throw
or
be
pushed
up
to
5
feet
away
from
you.
-
You
create
a
small
blast
of
air
capable
of
moving
one
object
that
is
neither
held
nor
carried
and
that
weighs
no
more
than
5
pounds.
The
object
is
pushed
up
to
10
feet
away
from
you.
It
isn’t
pushed
with
enough
force
to
cause
damage.
-
You
create
a
harmless
sensory
effect
using
air,
such
as
causing
leaves
to
rustle,
wind
to
slam
shutters
closed,
or
your
clothing
to
ripple
in
a
breeze.
HEALING
SPIRIT
2nd-leve1
conjurati'on
Casting
Time:
1
bonus
action
Range:
60
feet
Components:
V,
S
Duration:
Concentration,
up
to
1
minute
You
call
forth
a
nature
spirit
to
soothe
the
wounded.
The
intangible
spirit
appears
in
a
space
that
is
a
5-foot
cube
you
can
see
within
range.
The
spirit
looks
like
a
trans-
parent
beast
or
fey
(your
choice).
Until
the
spell
ends,
whenever
you
or
a
creature
you
can
see
moves
into
the
spirits
space
for
the
first
time
on
a
turn
or
starts
its
turn
there,
you
can
cause
the
spirit
to
restore
ld6
hit
points
to
that
creature
(no
action
re—
quired).
The
spirit
can’t
heal
constructs
or
undead.
As
a
bonus
action
on
your
turn,
you
can
move
the
Spirit
up
to
30
feet
to
a
space
you
can
see.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
3rd
level
or
higher,
the
healing
increases
by
ME)
for
each
slot
level
above
2nd.
HOLY
WEAPON
Stir/eve]
evocation
Casting
Time:
1
bonus
action
Range:
Touch
Components:
V,
S
Duration:
Concentration,
up
to
1
hour
You
imbue
a
weapon
you
touch
with
holy
power.
Until
the
spell
ends,
the
weapon
emits
bright
light
in
a
30—
foot
radius
and
dim
light
for
an
additional
30
feet.
In
addition,
weapon
attacks
made
with
it
deal
an
extra
2d8
radiant
damage
on
a
hit.
If
the
weapon
isn’t
already
a
magic
weapon,
it
becomes
one
for
the
duration.
As
a
bonus
action
on
your
turn,
you
can
dismiss
this
spell
and
cause
the
weapon
to
emit
a
burst
of
radiance.
Each
creature
of
your
choice
that
you can
see
within
30
feet
ofyou
must
make
a
Constitution
saving
throw.
On
a
failed
save,
a
creature
takes
4d8
radiant
damage,
and
it
is
blinded
for
1
minute.
On
a
successful
save,
a
creature
takes
half
as
much
damage
and
isn’t
blinded.
At
the
end
of
each
Ofits
turns,
a
blinded
creature
can
make
a
Constitution
saving
throw,
ending
the
effect
on
itselfon
a
success.
ICE
KN
IFE
lst—level
conjura
tion
Casting
Time:
1
action
Range:
60
feet
Components:
S,
M
(a
drop
of
water
or
a
piece
of
ice)
Duration:
Instantaneous
You
create
a
shard
of
ice
and
fling
it
at
one
creature
within
range.
Make
a
ranged
spell
attack
against
the
tar-
get.
On
a
hit,
the
target
takes
ll
piercing
damage.
Hit
or
miss.
the
shard
then
explodes.
The
target
and
each
creature
within
5
feet
of
it
must
succeed
on
a
Dexterity
saving
thfow
or
take
2d6
cold
damage.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
2nd
level
or
higher,
the
cold
damage
in-
creases
by
1d6
for
each
slot
level
above
lst.
ILLUSORY
DRAGON
8th—leve1
illusion
Casting
Time:
1
action
Range:
120
feet
Components:
8
Duration:
Concentration,
up
to
1
minute
By
gathering
threads
of
shadow
material
from
the
Shad~
owfell,
you
create
a
Huge
shadowy
dragon
in
an
unoc-
cupied
space
that
you
can
see
within
range.
The
illusion
lasts
for
the
spell’s
duration
and
occupies
its
space,
as
if
it
were
a
creature.
When
the
illusion
appears,
any
of
your
enemies
that
can
see
it
must
succeed
on
a
Wisdom
saving
throw
or
become
frightened
of
it
for
1
minute.
If
a
frightened
crea-
ture
ends
its
turn
in
a
location
where
it
doesn’t
have
line
of
sight
to
the
illusion,
it
can
repeat
the
saving
throw,
ending
the
effect
on
itself
on
a
success.
As
a
bonus
action
on
your
turn,
you
can
move
the
illu-
sion
up
to
60
feet.
At
any
point
during
its
movement,
you
can
cause
it
to
exhale
a
blast
of
energy
in
a
60-foot
cone
originating
from
its
space.
When
you
create
the
dragon,
choose
a
damage
type:
acid,
cold,
fire,
lightning,
ne-
crotic,
or
poison.
Each
creature
in
the
cone
must
make
an
Intelligence
saving
throw,
taking
'7d6
damage
of
the
chosen
damage
type
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
The
illusion
is
tangible
because
of
the
shadow
stuff
used
to
create
it,
but
attacks
miss
it
automatically.
it
suc-
ceeds
on
all
saving
throws,
and
it
is
immune
to
all
dam-
age
and
conditions.
A
creature
that
uses
an
action
to
examine
the
dragon
can
determine
that
it
is
an
illusion
by
succeeding
on
an
Intelligence
(Investigation)
check
against
your
spell
save
DC.
If
a
creature
discerns
the
illusion
for
what
it
is,
the
creature
can
see
through
it
and
has
advantage
on
saving
throws
against
its
breath.
IMMOLATION
5th—level
evocation
Casting
Time:
1
action
Range:
90
feet
Components:
V
Duration:
Concentration,
up
to
1
minute
Flames
wreathe
one
creature
you
can
see
within
range.
The
target
must
make
a
Dexterity
saving
throw.
It
takes
8d6
fire
damage
on
a
failed
save,
or
half
as
much
dam-
age
on
a
successful
one.
On
a
failed
save,
the
target
also
burns
for
the
spell’s
duration.
The
burning
target
sheds
bright
light
in
a
30—foot
radius
and
dim
light
for
an
additional
30
feet.
At
the
end
of
each
of
its
turns,
the
target
repeats
the
saving
throw.
It
takes
4d6
fire
damage
on
a
failed
save,
and
the
spell
ends
on
a
successful
one.
These
magical
flames
can’t
be
extinguished
by
nonmag—
ical
means.
If
damage
from
this
spell
kills
a
target,
the
target
is
turned
to
ash.
INFERNAL
CALLING
5th—1eve1conjuration
Casting
Time:
1
minute
Range:
90
feet
Components:
V,
S,
M
(a
ruby
worth
at
least
999
gp)
Duration:
Concentration,
up
to
1
hour
Uttering
a
dark
incantation,
you
summon
a
devil
from
the
Nine
Hells.
You
choose
the
devil’s
type,
which
must
be
one
of
challenge
rating
6
or
lower,
such
as
a
barbed
devil
or
a
bearded
devil.
The
devil
appears
in
an
unoc—
cupied
space
that
you
can
see
within
range.
The
devil
disappears
when
it
drops
to
0
hit
points
or
when
the
spell
ends.
The
devil
is
unfriendly
toward
you
and
your
com-
panions.
Roll
initiative
for
the
devil,
which
has
its
own
turns.
It
is
under
the
Dungeon
Master’s
control
and
acts
according
to
its
nature
on
each
of
its
turns,
which
might
result
in
its
attacking
you
if
it
thinks
it
can
prevail,
or
trying
to
tempt
you
to
undertake
an
evil
act
in
exchange
for
limited
service.
The
DM
has
the
creature’s
statistics.
On
each
of
your
turns,
you
can
try
to
issue
a
verbal
command
to
the
devil
(no
action
required
by
you).
It
obeys
the
command
if
the
likely
outcome
is
in
accor-
dance
with
its
desires,
especially
if
the
result
would
draw
you
toward
evil.
Otherwise,
you
must
make
a
Cha-
risma
(Deception,
Intimidation,
or
Persuasion)
check
contested
by
its
Wisdom
(Insight)
check.
You
make
the
check
with
advantage
if
you
say
the
devil’s
true
name.
Ifyour
check
fails,
the
devil
becomes
immune
to
your
verbal
commands
for
the
duration
of
the
spell,
though
it
can
still
carry
out
your
commands
if
it
chooses.
If
your
check
succeeds,
the
devil
carries
out
your
command—
such
as
“attack
my
enemies,”
“explore
the
room
ahead,"
or
“bear
this
message
to
the
queen"—until
it
completes
the
activity,
at
which
point
it
returns
to
you
to
report
hav-
ing
done
so.
If
your
concentration
ends
before
the
spell
reaches
its
full
duration,
the
devil
doesn‘t
disappear
if
it
has
become
immune
to
your
verbal
commands.
Instead,
it
acts
in
whatever
manner
it
chooses
for
3d6
minutes,
and
then
it
disappears.
Ifyou
possess
an
individual
devil’s
talisman,
you
can
summon
that
devil
if
it
is
of
the
appropriate
challenge
rating
plus
1,
and
it
obeys
all
your
commands,
with
no
Charisma
checks
required.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
6th
level
or
higher,
the
challenge
rating
in-
creases
by
1
for
each
slot
level
above
5th.
IN
FESTATION
Conjuration
cantrip
Casting
Time:
1
action
Range:
30
feet
Components:
V,
S,
M
(a
living
fiea)
Duration:
Instantaneous
You
cause
a
cloud
of
mites,
fleas,
and
other
parasites
to
appear
momentarily
on
one
creature
you
can
see
within
range.
The
target
must
succeed
on
a
Constitution
saving
throw,
or
it
takes
1d6
poison
damage
and
moves
5
feet
in
a
random
direction
if
it
can
move
and
its
speed
is
at
least
5
feet.
Roll
a
d4
for
the
direction:
1.,
north;
2,
south;
3,
east;
or
4,
west.
This
movement
doesn’t
provoke
op-
portunity
attacks,
and
if
the
direction
rolled
is
blocked,
the
target
doesn't
move.
The
spell’s
damage
increases
by
1d6
when
you
reach
5th
level
(2d6),
11th
level
(3016),
and
17th
level
(4d6).
i}:
'-.~\
sax
”:5"-
/"
-
--
.-
-IIIIICII~'-
”'44.“.a
1
.--.~_'1_'
INFERNAL
CALLiNG
INVESTITURE
or
FLAME
orb-level
transmutation
Casting
Time:
1
action
Range:
Self
Components:
V,
8
Duration:
Concentration,
up
to
10
minutes
Flames
race
across
your
body,
shedding
bright
light
in
a
30—foot
radius
and
dim
light
for
an
additional
30
feet
for
the
spell’s
duration.
The
flames
don’t
harm
you.
Until
the
spell
ends,
you
gain
the
following
benefits:
.
You
are
immune
to
fire
damage
and
have
resistance
to
cold
damage.
-
Any
creature
that
moves
within
5
feet
of
you
for
the
first
time
on
a
turn
or
ends
its
turn
there
takes
1l
fire
damage.
You
can
use
your
action
to
create
a
line
of
fire
15
feet
long
and
5
feet
Wide
extending
from
you
in
a
direc—
tion
you
choose.
Each
creature
in
the
line
must
make
a
Dexterity
saying
throw.
A
creature
takes
4d8
fire
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
INVESTITURE
or
ICE
orb-level
transmutation
Casting
Time:
1
action
Range:
Self
Components:
V,
8
Duration:
Concentration,
up to
10
minutes
'
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.
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.
'-
_.,
Until
the
spell
ends,
ice
rimes
your
body,
and
you
gain
the
following
benefits:
-
You
are
immune
to
cold
damage
and
have
resistance
to
fire
damage.
.
You
can
move
across
difficult
terrain
created
by
ice
or
snow
without
spending
extra
movement.
-
The
ground
in
a
10—foot
radius
around
you
is
icy
and
is
difficult
terrain
for
creatures
other
than
you.
The
radius
moves
with
you.
-
You
can
use
your
action
to
create
a
15-foot
cone
of
freezing
Wind
extending
from
your
outstretched
hand
in
a
direction
you
choose.
Each
creature
in
the
cone
must
make
a
Constitution
saving
throw.
A
creature
takes
4d6
cold
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
A
creature
that
fails
its
s‘ave
against
this
effect
has
its
speed
halved
until
the
start
of
your
next
turn.
INVESTITURE
OF
STONE
6th-Ieve1
transmutation
Casting
Time:
1
action
Range:
Self
Components:
V,
S
Duration:
Concentration,
up
to
10
minutes
Until
the
spell
ends,
bits
of
rock
spread
across
your
body,
and
you
gain
the
following
benefits:
-
You
have
resistance
to
bludgeoning,
piercing,
and
slashing
damage
from
nonmagical
attacks.
{'lls‘xli'l
lit
7';-
Z'il'i'l
L':
-
You
can
use
your
action
to
create
a
small
earthquake
on
the
ground
in
a
15-foot
radius
centered
on
you.
Other
creatures
on
that
ground
must
succeed
on
a
Dexterity
saving
throw
or
be
knocked
prone.
-
You
can
move
across
difficult
terrain
made
of
earth
or
stone
without
spending
extra
movement.
You
can
move
through
solid
earth
or
stone
as
if
it
was
air
and
without
destabilizing
it,
but
you
can’t
end
your
movement
there.
If
you
do
so,
you
are
ejected
to
the
nearest
unoccupied
space,
this
spell
ends,
and
you
are
stunned
until
the
end
of
your
next
turn.
INVESTITURE
or
WIND
6th-Ieve1
transmutation
Casting
Time:
1
action
Range:
Self
Components:
V,
S
Duration:
Concentration,
up
to
10
minutes
Until
the
spell
ends,
wind
whirls
around
you,
and
you
gain
the
following
benefits:
.
Ranged
weapon
attacks
made
against
you
have
disad—
vantage
on
the
attack
roll.
.
You
gain
a
flying
speed
of
60
feet.
Ifyou
are
still
flying
when
the
spell
ends,
you
fall,
unless
you
can
somehow
prevent
it.
-
You
can
use
your
action
to
create
a
15-foot
cube
of
swirling
wind
centered
on
a
point
you
can
see
within
60
feet
of
you.
Each
creature
in
that
area
must
make
a
Constitution
saving
throw.
A
creature
takes
2l
bludgeoning
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
If
a
Large
or
smaller
creature
fails
the
save,
that
creature
is
also
pushed
up
to
10
feet
away
from
the
center
of
the
cube.
INVULNERABILITY
9th-Ieve1
abjura
tion
Casting
Time:
1
action
Range:
Self
Components:
V,
S,
M
(a
small
piece
of
adamantine
worth
at
least
500
gp,
which
the
spell
consumes)
Duration:
Concentration,
up
to
10
minutes
You
are
immune
to
all
damage
until
the
spell
ends.
LIFE
TRANSFERENCE
3rd—Ieve]
necromancy
Casting
Time:
1
action
Range:
30
feet
Components:
V,
S
Duration:
Instantaneous
You
sacrifice
some
of
your
health
to
mend
another
crea—
ture’s
injuries.
You
take
4d8
necrotic
damage,
and
one
creature
of
your
choice
that
you
can
see
within
range
re-
gains
a
number
of
hit
points
equal
to
twice
the
necrotic
damage
you
take.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
4th
level
or
higher,
the
damage
increases
by
1d8
for
each
slot
level
above
3rd.
{'lls'tf’l'fl‘.
.3
:
Sl'i-
1.1.5
MADDENING
DARKNESS
8th—1eve1
evocation
Casting
Time:
1
action
Range:
150
feet
Components:
V,
M
(a
drop
of
pitch
mixed
with
a
drop
of
mercury)
Duration:
Concentration,
up
to
10
minutes
Magical
darkness
spreads
from
a
point
you
choose
within
range
to
fill
a
60—foot—radius
sphere
until
the
spell
ends.
The
darkness
spreads
around
corners.
A
creature
with
darkvision
can’t
see
through
this
darkness.
Non—
magical
light,
as
well
as
light
created
by
spells
of
8th
level
or
lower,
can't
illuminate
the
area.
Shrieks,
gibbering,
and
mad
laughter
can
be
heard
within
the
sphere.
Whenever
a
creature
starts
its
turn
in
the
sphere,
it
must
make
a
Wisdom
saving
throw,
taking
8d8
psychic
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
MAE
LSTROM
Stir—level
evocation
Casting
Time:
1
action
Range:
120
feet
Components:
V,
S,
M
(paper
or
leaf
in
the
shape
of
a
funnel)
Duration:
Concentration,
up
to
1
minute
A
swirling
mass
of
5-foot—deep
water
appears
in
a
30—
foot
radius
centered
on
a
point
you
can
see
within
range.
The
point
must
be
on
the
ground
or
in
a
body
of
water.
Until
the
spell
ends,
that
area
is
difficult
terrain,
and
any
creature
that
starts
its
turn
there
must
succeed
on
a
Strength
saving
throw
or
take
6d6
bludgeoning
damage
and
be
pulled
10
feet
toward
the
center.
MAGIC
STONE
Transmutation
cantrip
Casting
Time:
1
bonus
action
Range:
Touch
Components:
V,
S
Duration:
1
minute
You
touch
one
to
three
pebbles
and
imbue
them
with
magic.
You
or
someone
else
can
make
a
ranged
spell
attack
with
one
of
the
pebbles
by
throwing
it
or
hurling
it
with
a
sling.
If
thrown,
a
pebble
has
a
range
of
60
feet.
If
someone
else
attacks
with
a
pebble,
that
attacker
adds
your
spellcasting
ability
modifier,
not
the
attackers,
to
the
attack
roll.
On
a
hit,
the
target
takes
bludgeoning
damage
equal
to
1d6
+
your
spellcasting
ability
modifier.
Whether
the
attack
hits
or
misses,
the
spell
then
ends
on
the
stone.
If
you
cast
this
spell
again,
the
spell
ends
on
any
peb-
bles
still
affected
by
your
previous
casting.
MASS
POLYMORPH
9th-1eve1
transmutation
Casting
Time:
1
action
Range:
120
feet
Components:
V.
S,
M
(a
caterpillar
cocoon)
Duration:
Concentration,
up
to
1
hour
You
transform
up
to
ten
creatures
of
your
choice
that
you
can
see
within
range.
An
unwilling
target
must
suc—
ceed
on
a
Wisdom
saving
throw
to
resist
the
transforma—
tion.
An
unwilling
shapechanger
automatically
succeeds
on
the
save.
Each
target
assumes
a
beast
form
of
your
choice,
and
you
can
choose
the
same
form
or
different
ones
for
each
target.
The
new
form
can
be
any
beast
you
have
seen
whose
challenge
rating
is
equal
to
or
less
than
the
tar-
get’s
(or
half
the
target’s
level,
if
the
target
doesn’t
have
a
challenge
rating).
The
target’s
game
statistics,
including
mental
ability
scores,
are
replaced
by
the
statistics
of
the
chosen
beast,
but
the
target
retains
its
hit
points,
alignment,
and
personality.
Each
target
gains
a
number
of
temporary
hit
points
equal
to
the
hit
points
of
its
new
form.
These
temporary
hit
points
can’t
be
replaced
by
temporary
hit
points
from
another
source.
A
target
reverts
to
its
normal
form
when
it
has
no
more
temporary
hit
points
or
it
dies.
If
the
spell
ends
before
then,
the
creature
loses
all
its
temporary
hit
points
and
reverts
to
its
normal
form.
The
creature
is
limited
in
the
actions
it
can
perform
by
the
nature
of
its
new
form.
It
can’t
speak,
cast
spells,
or
do
anything
else
that
requires
hands
or
speech.
The
target’s
gear
melds
into
the
new
form.
The
target
can’t
activate,
use,
wield,
or
otherwise
benefit
from
any
of
its
equipment.
MAXIMILIAN’S
EARTHEN
GRASP
2nd—ievei
transmutation
Casting
Time:
1
action
Range:
30
feet
Components:
V,
S,
M
(a
miniature
hand
sculpted
from
clay)
Duration:
Concentration,
up
to
1
minute
You
choose
a
S—foot-square
unoccupied
space
on
the
ground
that
you
can
see
within
range.
A
Medium
hand
made
from
compacted
soil
rises
there
and
reaches
for
one
creature
you
can
see
within
5
feet
of
it.
The
target
must
make
a
Strength
saving
throw.
On
a
failed
save,
the
target
takes
2d6
bludgeoning
damage
and
is
re-
strained
for
the
spell's
duration.
As
an
action,
you
can
cause
the
hand
to
crush
the
restrained
target,
which
must
make
a
Strength
saving
throw.
The
target
takes
2d6
bludgeoning
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
To
break
out,
the
restrained
target
can
use
its
action
to
make
a
Strength
check
against
your
spell
save
DC.
On
a
success,
the
target
escapes
and
is
no
longer
re—
strained
by
the
hand.
As
an
action,
you
can
cause
the
hand
to
reach
for
a
different
creature
or
to
move
to
a
different
unoccupied
space
within
range.
The
hand
releases
a
restrained
tar-
get
if
you
do
either.
MELF’S
MINUTE
METEORS
3rd—ievel
evocation
Casting
Time:
1
action
Range:
Self
Components:
V,
S,
M
(niter,
sulfur,
and
pine
tar
formed
into
a
bead)
Duration:
Concentration,
up
to
10
minutes
You
create
six
tiny
meteors
in
your
space.
They
float
in
the
air
and
orbit
you
for
the
spell’s
duration.
When
you
cast
the
spellfiand
as
a
bonus
action
on
each
of
your
turns
thereafter—you
can
expend
one
or
two
of
the
meteors,
sending
them
streaking
toward
a
point
or
points
you
choose
within
120
feet
of
you.
Once
a
me-
teor
reaches
its
destination
or
impacts
against
a
solid
surface,
the
meteor
explodes.
Each
creature
within
5
feet
of
the
point
where
the.
meteor
explodes
must
make
a
Dexterity
saving
throw.
A
creature
takes
2d6
fire
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
4th
level
or
higher,
the
number
of
meteors
created
increases
by
two
for
each
slot
level
above
3rd.
MENTAL
PRISON
6th—Ievel
illusion
Casting
Time:
1
action
Range:
60
feet
Components:
S
Duration:
Concentration,
up
to
1
minute
You
attempt
to
bind
a
creature
within
an
illusory
cell
that
only
it
perceives.
One
creature
you
can
see
within
range
must
make
an
Intelligence
saving
throw.
The
target
succeeds
automatically
if
it
is
immune
to
being
charmed.
On
a
successful
save,
the
target
takes
5d10
psychic
damage,
and
the
spell
ends.
On
a
failed
save,
the
target
takes
5d10
psychic
damage,
and
you
make
the
area
immediately
around
the
target’s
space
appear
dangerous
to
it
in
some
way.
You
might
cause
the
target
to
perceive
itself
as
being
surrounded
by
fire,
floating
razors,
or
hideous
maws
filled
with
dripping
teeth.
Whatever
form
the
illusion
takes,
the
target
can’t
see
or
hear
anything
beyond
it
and
is
restrained
for
the
spell’s
duration.
If
the
target
is
moved
out
of
the
illusion,
makes
a
melee
attack
through
it,
or
reaches
any
part
of
its
body
through
it,
the
target
takes
10d10
psychic
damage,
and
the
spell
ends.
MIGHTY
FORTRESS
8th—Ieve1
conjuration
Casting
Time:
1
minute
Range:
1
mile
Components:
V,
S,
M
(a
diamond
worth
at
least
500
gp,
which
the
spell
consumes)
Duration:
Instantaneous
A
fortress
of
stone
erupts
from
a
square
area
of
ground
of
your
choice
that
you
can
see
within
range.
The
area
is
120
feet
on
each
side,
and
it
must
not
have
any
buildings
or
other
structures
on
it.
Any
creatures
in
the
area
are
harmlessly
lifted
up
as
the
fortress
rises.
The
fortress
has
four
turrets
with
square
bases,
each
one
20
feet
on
a
side
and
30
feet
tall,
with
one
turret
on
each
corner.
The
turrets
are
connected
to
each
other
by
stone
walls
that
are
each
80
feet
long,
creating
an
en-
:
3-:
w:
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s.
'.
'-.=l-!1.
z»
--
-'r:\
.
“(1:
.—
,'
.211‘.
F-tri‘
tug-own?
“l'
L“?-
-
.-y
'
.
.I
"
,l'l'
:-
1
closed
area.
Each
wall
is
1
foot
thick
and
is
composed
of
panels
that
are
10
feet
wide
and
20
feet
tall.
Each
panel
is
contiguous
with
two
other
panels
or
one
other
panel
and
a
turret.
You
can
place
up
to
four
stone
doors
in
the
fortress’s
outer
wall.
A
small
keep
stands
inside
the
enclosed
area.
The
keep
has
a
square
base
that
is
50
feet
on
each
side,
and
it
has
three
floors
with
10-foot-high
ceilings.
Each
of
the
floors
can
be
divided
into
as
many
rooms
as
you
like,
provided
each
room
is
at
least
5
feet
on
each
side.
The
floors
of
the
keep
are
connected
by
stone
staircases,
its
walls
are
6
inches
thick,
and
interior
rooms
can
have
stone
doors
or
open
archways
as
you
choose.
The
keep
is
furnished
and
decorated
however
you
like,
and
it
con—
tains
sufficient
food
to
serve
a
nine-course
banquet
for
up
to
100
people
each
day.
Furnishings,
food,
and
other
objects
created
by
this
spell
crumble
to
dust
if
removed
from
the
fortress.
A
staff
of
one
hundred
invisible
servants
obeys
any
command
given
to
them
by
creatures
you
designate
when
you
cast
the
spell.
Each
servant
functions
as
if
cre-
ated
by
the
unseen
servant
spell.
The
walls,
turrets,
and
keep
are
all
made
of
stone
that
can
be
damaged.
Each
10—foot—bya10-foot
section
of
stone
has
AC
15
and
30
hit
points
per
inch
of
thickness.
It
is
immune
to
poison
and
psychic
damage.
Reducing
a
section
of
stone
to
0
hit
points
destroys
it
and
might
cause
connected
sections
to
buckle
and
collapse
at
the
DM’s
discretion.
After
7
days
or
when
you
cast
this
spell
somewhere
else,
the
fortress
harmlessly
crumbles
and
sinks
back
.
.
'
II
!
I;
I
-,
.
all:
iii:
2..
fl".
.1
.
MIGHTY
Fonraess
into
the
ground,
leaving
any
creatures
that
were
inside
it
safely
on
the
ground.
Casting
this
spell
on
the
same
spot
once
every
7
days
for
a
year
makes
the
fortress
permanent.
MIND
SPIKE
2nd-1eve]
divination
Casting
Time:
1
action
Range:
60
feet
Components:
8
Duration:
Concentration,
up
to
1
hour
You
reach
into
the
mind
of
one
creature
you
can
see
within
range.
The
target
must
make
a
Wisdom
saving
throw,
taking
3d8
psychic
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
On
a
failed
save,
you
also
always
know
the
target's
location
until
the
spell
ends,
but
only
while
the
two
of
you
are
on
the
same
plane
of
existence.
While
you
have
this
knowledge,
the
target
can’t
become
hidden
from
you,
and
if
it’s
invisible,
it
gains
no
benefit
from
that
condition
against
you.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
3rd
level
or
higher,
the
damage
increases
by
1d6
for
each
slot
level
above
2nd.
MOLD
EARTH
Transmutation
cantrip
Casting
Time:
1
action
Range:
30
feet
Components:
8
Duration:
Instantaneous
or
1
hour
(see
below)
You
choose
a
portion
of
dirt
or
stone
that
you
can
see
within
range
and
that
fits
within
a
5-foot
cube.
You
ma—
nipulate
it
in
one
of
the
following
ways:
.
lfyou
target
an
area
of
loose
earth,
you
can
instan—
taneously
excavate
it,
move
it
along
the
ground,
and
deposit
it
up
to
5
feet
away.
This
movement
doesn’t
involve
enough
force
to
cause
damage.
-
You
cause
shapes,
colors,
or
both
to
appear
on
the
dirt
or
stone,
spelling
out
words,
creating
images,
or
shap-
ing
patterns.
The
changes
last
for
1
hour.
-
If
the
dirt
or
stone
you
target
is
on
the
ground,
you
cause
it
to
become
difficult
terrain.
Alternatively,
you
can
cause
the
ground
to
become
normal
terrain
if
it
is
already
difficult
terrain.
This
change
lasts
for
1
hour.
If
you
cast
this
spell
multiple
times,
you
can
have
no
more
than
two
of
its
non-instantaneous
effects
active
at
a
time,
and
you
can
dismiss
such
an
effect
as
an
action.
NEGATIVE
ENERGY
FLOOD
Stir-level
necromancy
Casting
Time:
1
action
Range:
60
feet
Components:
V,
M
(a
broken
bone
and
a
square
of
black
silk)
Duration:
Instantaneous
You
send
ribbons
of
negative
energy
at
one
creature
you
can
see
within
range.
Unless
the
target
is
undead.
it
must
make
a
Constitution
saving
throw,
taking
5d12
ne-
crotic
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
A
target
killed
by
this
damage
rises
up
as
a
zombie
at
the
start
of
your
next
turn.
The
zombie
pursues
whatever
creature
it
can
see
that
is
closest
to
it.
Statistics
for
the
zombie
are
in
the
Monster
Manual.
If
you
target
an
undead
with
this
spell,
the
target
doesn’t
make
a
saving
throw.
Instead,
roll
5d12.
The
tar-
get
gains
half
the
total
as
temporary
hit
points.
POWER
WORD
PAIN
7th-1evel
enchantment
Casting
Time:
1
action
Range:
60
feet
Components:
V
Duration:
Instantaneous
You
speak
a
word
of
power
that
causes
waves
of
intense
pain
to
assail
one
creature
you
can
see
within
range.
If
the
target
has
100
hit
points
or
fewer,
it
is
subject
to
crippling
pain.
Otherwise,
the
spell
has
no
effect
on
it.
A
target
is
also
unaffected
if
it
is
immune
to
be-
ing
charmed.
While
the
target
is
affected
by
crippling
pain,
any
speed
it
has
can
be
no
higher
than
10
feet.
The
target
also
has
disadvantage
on
attack
rolls,
ability
checks,
and
saving
throws,
other
than
Constitution
saving
throws.
Finally,
if
the
target
tries
to
cast
a
spell,
it
must
first
suc—
ceed
on
a
Constitution
saving
throw,
or
the
casting
fails
and
the
spell
is
wasted.
A
target
suffering
this
pain
can
make
a
Constitution
saving
throw
at
the
end
of
each
of
its
turns.
On
a
suc—
cessful
save,
the
pain
ends.
PRIMAL
SAVAGERY
Transmutation
cantrip
Casting
Time:
1
action
Range:
Self
Components:
S
Duration:
Instantaneous
You
channel
primal
magic
to
cause
your
teeth
or
fin—
gernails
to
sharpen,
ready
to
deliver
a
corrosive
attack.
Make
a
melee
spell
attack
against
one
creature
within
5
feet
ofyou.
On
a
hit,
the
target
takes
ll
acid
damage.
After
you
make
the
attack,
your
teeth
or
fingernails
re-
turn
to
normal.
The
spell’s
damage
increases
by
1d10
when
you
reach
5th
level
(2d10),
11th
level
(3d10),
and
17th
level
(4d10).
PRIMORDIAL
WARD
6th-1eve}
abjura
ti'on
Casting
Time:
I
action
Range:
Self
Components:
V,
S
Duration:
Concentration,
up
to
1
minute
You
have
resistance
to
acid,
cold,
fire,
lightning,
and
thunder
damage
for
the
spell’s
duration.
When
you
take
damage
of
one
of
those
types,
you
can
use
your
reaction
to
gain
immunity
to
that
type
of
dam-
age,
including
against
the
triggering
damage.
If
you
do
so,
the
resistances
end,
and
you
have
the
immunity
until
the
end
of
your
next
turn,
at
which
time
the
spell
ends.
PSYCHIC
SCREAM
9th~level
enchantment
Casting
Time:
1
action
Range:
90
feet
Components:
S
Duration:
Instantaneous
You
unleash
the
power
of
your
mind
to
blast
the
intellect
of
up
to
ten
creatures
of
your
choice
that
you
can
see
within
range.
Creatures
that
have
an
Intelligence
score
of
2
or
lower
are
unaffected.
Each
target
must
make
an
Intelligence
saving
throw.
On
a
failed
save,
a
target
takes
14d6
psychic
damage
and
is
stunned.
On
a
successful
save,
a
target
takes
half
as
much
damage
and
isn’t
stunned.
If
a
target
is
killed
by
this
damage,
its
head
explodes,
assuming
it
has
one.
A
stunned
target
can
make
an
Intelligence
saving
throw
at
the
end
of
each
of
its
turns.
On
a
successful
save,
the
stunning
effect
ends.
PYROTECHNICS
2nd-1eve1
transmutation
Casting
Time:
1
action
Range:
60
feet
Components:
V,
S
Duration:
Instantaneous
Choose
an
area
of
nonmagical
flame
that
you
can
see
and
that
fits
within
a
5-foot
cube
within
range.
You
can
extinguish
the
fire
in
that
area,
and
you
create
either
fireworks
or
smoke
when
you
do
so.
Fireworks.
The
target
explodes
with
a
dazzling
dis-
play
of
colors.
Each
creature
within
10
feet
of
the
target
t.ii.‘i.l"'t_'lf
i=1
'-'.
a
PI;
it
is
r —
-.1-..
l1“
““1...
Snanow
Btnoe
must
succeed
on
a
Constitution
saving
throw
or
become
blinded
until
the
end
of
your
next
turn.
Smoke.
Thick
black
smoke
spreads
out
from
the
tar-
get
in
a
20—foot
radius,
moving
around
corners.
The
area
of
the
smoke
is
heavily
obscured.
The
smoke
persists
for
1
minute
or
until
a
strong
wind
disperses
it.
SCATTER
Grit-level
conjuratfon
Casting
Time:
1
action
Range:
30
feet
Components:
V
Duration:
Instantaneous
The
air
quivers
around
up
to
five
creatures
of
your
choice
that
you
can
see
within
range.
An
unwilling
crea—
ture
must
succeed
on
a
Wisdom
saving
throw
to
resist
this
spell.
You
teleport
each
affected
target
to
an
unoccu-
pied
space
that
you
can
see
within
120
feet
of
you.
That
space
must
be
on
the
ground
or
on
a
floor.
SHADOW
BLADE
2nd—leve]
illusion
Casting
Time:
1
bonus
action
Range:
Self
Components:
V,
8
Duration:
Concentration,
up
to
1
minute
You
weave
together
threads
of
shadow
to
create
a
sword
of
solidified
gloom
in
your
hand.
This
magic
sword
lasts
until
the
spell
ends.
It
counts
as
a
simple
melee
weapon
with
which
you
are
proficient.
It
deals
2d8
psychic
damage
on
a
hit
and
has
the
finesse,
light,
and
thrown
iii?
killl‘lt'
3
I
*11"i_l.i_.‘~é
.u—.
w'—.
properties
(range
20/60).
In
addition,
when
you
use
the
sword
to
attack
a
target
that
is
in
dim
light
or
darkness,
you
make
the
attack
roll
with
advantage.
If
you
drop
the
weapon
or
throw
it,
it
dissipates
at
the
end
of
the
turn.
Thereafter,
while
the
spell
persists,
you
can
use
a
bonus
action
to
cause
the
sword
to
reappear
in
your
hand.
At
Higher
Levels.
When
you
cast
this
spell
using
a
3rd-
or
4th—level
spell
slot,
the
damage
increases
to
3:18.
When
you
cast
it
using
a
5th—
or
6th-level
spell
slot,
the
damage
increases
to
4d8.
When
you
cast
it
using
a
spell
slot
of
7th
level
or
higher,
the
damage
increases
to
5d8.
SHADOW
or
M011.
4th—1eve]
necromancy
Casting
Time:
1
action
Range:
Self
Components:
V,
S,
M
(an
undead
eyeball
encased
in
a
gem
worth
at
least
150
gp)
Duration:
Concentration,
up
to
1
minute
Flame~like
shadows
wreathe
your
body
until
the
spell
ends,
causing
you
to
become
heavily
obscured
to
others.
The
shadows
turn
dim
light
within
10
feet
of
you
into
darkness,
and
bright
light
in
the
same
area
to
dim
light.
Until
the
spell
ends,
you
have
resistance
to
radiant
damage.
In
addition,
whenever
a
creature
within
10
feet
of
you
hits
you
with
an
attack,
the
shadows
lash
out
at
that
creature,
dealing
it
2d8
necrotic
damage.
SHAPE
WATER
Transmutation
canm'p
Casting
Time:
1
action
Range:
30
feet
Components:
8
Duration:
Instantaneous
or
1
hour
(see
below)
You
choose
an
area
of
water
that
you
can
see
within
range
and
that
fits
within
a
5—foot
cube.
You
manipulate
it
in
one
of
the
following
ways:
-
You
instantaneously
move
or
otherwise
change
the
flow
of
the
water
as
you
direct,
up
to
5
feet
in
any
di-
rection.
This
movement
doesn’t
have
enough
force
to
cause
damage.
-
You
cause
the
water
to
form
into
simple
shapes
and
animate
at
your
direction.
This
change
lasts
for
1
hour.
.
You
change
the
water’s
color
or
opacity.
The
water
must
be
changed
in
the
same
way
throughout.
This
change
lasts
for
1
hour.
.
You
freeze
the
water,
provided
that
there
are
no
crea—
tures
in
it.
The
water
unfreezes
in
1
hour.
If
you
cast
this
spell
multiple
times,
you
can
have
no
more
than
two
of
its
non-instantaneous
effects
active
at
a
time,
and
you
can
dismiss
such
an
effect
as
an
action.
SICKENING
RADIANCE
4th-Ieve1
evocation
Casting
Time:
1
action
Range:
120
feet
Components:
V,
8
Duration:
Concentration,
up
to
10
minutes
Lr
Dim,
greenish
light
spreads
within
a
30—foot-radius
sphere
centered
on
a
point
you
choose
within
range.
The
light
spreads
around
corners,
and
it
lasts
until
the
spell
ends.
When
a
creature
moves
into
the
spell’s
area
for
the
first
time
on
a
turn
or
starts
its
turn
there,
that
creature
must
succeed
on
a
Constitution
saving
throw
or
take
4d10
radiant
damage,
and
it
suffers
one
level
of
exhaus—
tion
and
emits
a
dim,
greenish
light
in
a
5-foot
radius.
This
light
makes
it
impossible
for
the
creature
to
benefit
from
being
invisible.
The
light
and
any
levels
of
exhaus—
tion
caused
by
this
spell
go
away
when
the
spell
ends.
SKILL
EMPOWERMENT
5th-Ievel
transmutation
Casting
Time:
1
action
Range:
Touch
Components:
V,
S
Duration:
Concentration.
up to
1
hour
Your
magic
deepens
a
creature’s
understanding
of
its
own
talent.
You
touch
one
willing
creature
and
give
it
expertise
in
one
skill
of
your
choice;
until
the
spell
ends,
the
creature
doubles
its
proficiency
bonus
for
ability
checks
it
makes
that
use
the
chosen
skill.
You
must
choose
a
skill
in
which
the
target
is
profi-
cient
and
that
isn’t
already
benefiting
from
an
effect,
such
as
Expertise,
that
doubles
its
proficiency
bonus.
SKYWRITE
2nd—1evel
transmutation
(ritual)
Casting
Time:
1
action
Range:
Sight
Components:
V,
S
Duration:
Concentration,
up
to
1
hour
You
cause
up
to
ten
words
to
form
in
a
part
of
the
sky
you
can
see.
The
words
appear
to
be
made
of
cloud
and
remain
in
place
for
the
spell’s
duration.
The
words
dis—
sipate
when
the
spell
ends.
A
strong
wind
can
disperse
the
clouds
and
end
the
spell
early.
SNARE
Est-level
abjuration
Casting
Time:
1
minute
Range:
Touch
Components:
S,
M
(25
feet
of
rope,
which
the
spell
consumes)
Duration:
8
hours
As
you
cast
this
spell,
you
use
the
rope
to
create
a
circle
with
a
5-foot
radius
on
the
ground
or
the
floor.
When
you
finish
casting,
the
rope
disappears
and
the
circle
becomes
a
magic
trap.
This
trap
is
nearly
invisible,
requiring
a
successful
Intelligence
(Investigation)
check
against
your
spell
save
DC
to
be
discerned.
The
trap
triggers
when
a
Small,
Medium,
or
Large
creature
moves
onto
the
ground
or
the
floor
in
the
spell's
radius.
That
creature
must
succeed
on
a
Dex-
terity
saving
throw
or
be
magically
hoisted
into
the
air,
leaving
it
hanging
upside
down
3
feet
above
the
ground
or
the
floor.
The
creature
is
restrained
there
until
the
A
restrained
creature
can
make
a
Dexterity
saving
throw
at
the
end
of
each
of
its
turns,
ending
the
effect
on
itself
on
a
success.
Alternatively,
the
creature
or
some—
one
else
who
can
reach
it
can
use
an
action
to
make
an
Intelligence
(Arcana)
check
against
your
spell
save
DC.
On
a
success,
the
restrained
effect
ends.
After
the
trap
is
triggered,
the
spell
ends
when
no
creature
is
restrained
by
it.
SNILLoc’s
SNOWBALL
SWARM
2nd‘1eve1
evocation
Casting
Time:
1
action
Range:
90
feet
Components:
V,
S,
M
(a
piece
of
ice
or
a
small
white
rock
chip)
Duration:
Instantaneous
A
flurry
of
magic
snowballs
erupts
from
a
point
you
choose
within
range.
Each
creature
in
a
5-foot—radius
sphere
centered
on
that
point
must
make
a
Dexterity
saving
throw.
A
creature
takes
3d6
cold
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
3rd
level
or
higher,
the
damage
increases
by
1d6
for
each
slot
level
above
2nd.
SOUL
CAGE
6th-Ieve1
necromancy
Casting
Time:
1
reaction,
which
you
take
when
a
hu-
manoid
you
can
see
within
60
feet
of
you
dies
Range:
60
feet
Components:
V,
S,
M
(a
tiny
silver
cage
worth
100
gp)
Duration:
8
hours
This
spell
snatches
the
soul
of
a
humanoid
as
it
dies
and
traps
it
inside
the
tiny
cage
you
use
for
the
material
com-
ponent.
A
stolen
soul
remains
inside
the
cage
until
the
spell
ends
or
until
you
destroy
the
cage,
which
ends
the
spell.
While
you
have
a
soul
inside
the
cage,
you
can
ex—
ploit
it
in
any
of
the
ways
described
below.
You
can
use
a
trapped
soul
up
to
six
times.
Once
you
exploit
a
soul
for
the
sixth
time,
it
is
released,
and
the
spell
ends.
While
a
soul
is
trapped,
the
dead
humanoid
it
came
from
can’t
be
revived.
Steal
Life.
You
can
use
a
bonus
action
to
drain
vigor
from
the
soul
and
regain
2d8
hit
points.
Query
Soul.
You
ask
the
soul
a
question
(no
action
re-
quired)
and
receive
a
brief
telepathic
answer,
which
you
can
understand
regardless
of
the
language
used.
The
soul
knows
only
what
it
knew
in
life,
but
it
must
answer
you
truthfully
and
to
the
best
of
its
ability.
The
answer
is
no
more
than
a
sentence
or
two
and
might
be
cryptic.
Borrow
Experience.
You
can use
a
bonus
action
to
bolster
yourself
with
the
soul’s
life
experience,
making
your
next
attack
roll,
ability
check,
or
saving
throw
with
advantage.
If
you
don’t
use
this
benefit
before
the
start
of
your
next
turn,
it
is
lost.
Eyes
of
the
Dead.
You
can
use
an
action
to
name
a
place
the
humanoid
saw
in
life,
which
creates
an
invis-
ible
sensor
somewhere
in
that
place
if
it
is
on
the
plane
of
existence
you’re
currently
on.
The
sensor
remains
for
as
long
as
you
concentrate,
up
to
10
minutes
(as
if
you
were
concentrating
on
a
spell).
You
receive
visual
and
-—
xiii-FIE;
:-
:‘T‘
'
-'
spell
ends.
.i
«11
-‘tE-“i'E'-;i..1
3
Hi’i‘-'l..l_.‘_~'
_,
"
n.7,
'
'-'-|_I--
.
._
d(
##-
“A
by...
auditory
information
from
the
sensor
as
if
you
were
in
its
space
using
your
senses.
A
creature
that
can
see
the
sensor
(such
as
one
using
see
invisibility
or
truesight)
sees
a
translucent
image
of
the
tormented
humanoid
whose
soul
you
caged.
STEEL
WIN
D
STRIKE
5th—levei
conjura
tion
Casting
Time:
1
action
Range:
30
feet
Components:
S,
M
(a
melee
weapon
worth
at
least
1
sp)
Duration:
Instantaneous
You
flourish
the
weapon
used
in
the
casting
and
then
vanish
to
strike
like
the
wind.
Choose
up
to
five
crea-
tures
you
can
see
within
range.
Make
a
melee
spell
attack
against
each
target.
On
a
hit,
a
target
takes
6d10
force
damage.
You
can
then
teleport
to
an
unoccupied
space
you
can
see
within
5
feet
of
one
of
the
targets
you
hit
or
missed.
STORM
SPHERE
4th-leve1
evocation
Casting
Time:
1
action
Range:
150
feet
Components:
V.
8
Duration:
Concentration,
up
to
1
minute
A
20-foot—radius
sphere
of
whirling
air
springs
into
ex-
istence,
centered
on
a
point
you
choose
within
range.
".
'.\1’f’li.5~l
STORM
SIN-HERE
The
sphere
remains
for
the
spell's
duration.
Each
crea-
ture
in
the
sphere
when
it
appears
or
that
ends
its
turn
there
must
succeed
on
a
Strength
saving
throw
or
take
2d6
bludgeoning
damage.
The
sphere’s
space
is
diffi—
cult
terrain.
Until
the
spell
ends,
you
can
use
a
bonus
action
on
each
of
your
turns
to
cause
a
bolt
of
lightning
to
leap
from
the
center
of
the
sphere
toward
one
creature
you
choose
within
60
feet
of
the
center.
Make
a
ranged
spell
attack.
You
have
advantage
on
the
attack
roll
if
the
target
is
in
the
sphere.
On
a
hit.
the
target
takes
4d6
light-
ning
damage.
Creatures
within
30
feet
of
the
sphere
have
disadvan—
tage
on
Wisdom
(Perception)
checks
made
to
listen.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
5th
level
or
higher,
the
damage
for
each
of
its
effects
increases
by
1d6
for
each
slot
level
above
4th.
SUMMON
GREATER
DEMON
4th-Ievel
conjuration
Casting
Time:
1
action
Range:
60
feet
Components:
V,
S,
M
(a
vial
of
blood
from
a
humanoid
killed
within
the
past
24
hours)
Duration:
Concentration,
up
to
1
hour
You
utter
foul
words,
summoning
one
demon
from
the
chaos
of
the
Abyss.
You
choose
the
demon’s
type,
which
must
be
one
of
challenge
rating
5
or
lower,
such
as
a
shadow
demon
or
a
barlgura.
The
demon
appears
in
an
unoccupied
space
you
can
see
within
range,
and
the
demon
disappears
when
it
drops
to
0
hit
points
or
when
the
spell
ends.
Roll
initiative
for
the
demon,
which
has
its
own
turns.
When
you
summon
it
and
on
each
of
your
turns
thereaf—
ter,
you
can
issue
a
verbal
command
to
it
(requiring
no
action
on
your
part),
telling
it
what
it
must
do
on
its
next
turn.
If
you
issue
no
command,
it
spends
its
turn
attack—
ing
any
creature
within
reach
that
has
attacked
it.
At
the
end
of
each
of
the
demons
turns,
it
makes
a
Charisma
saving
throw.
The
demon
has
disadvantage
on
this
saving
throw
if
you
say
its
true
name.
On
a
failed.
save,
the
demon
continues
to
obey
you.
On
a
success—
ful
save,
your
control
of
the
demon
ends
for
the
rest
of
the
duration,
and
the
demon
spends
its
turns
pursuing
and
attacking
the
nearest
non—demons
to
the
best
of
its
ability.
If
you
stop
concentrating
on
the
spell
before
it
reaches
its
full
duration,
an
uncontrolled
demon
doesn’t
disappear
for
M6
rounds
if
it
still
has
hit
points.
As
part
of
casting
the
spell,
you
can
form
a
circle
on
the
ground
with
the
blood
used
as
a
material
com~
ponent.
The
circle
is
large
enough
to
encompass
your
space.
While
the
spell
lasts,
the
summoned
demon
can’t
cross
the
circle
or
harm
it,
and
it
can't
target
anyone
within
it.
Using
the
material
component
in
this
manner
consumes
it
when
the
spell
ends.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
5th
level
or
higher,
the
challenge
rating
in-
creases
by
l
for
each
slot
level
above
4th.
SUMMON
LESSER
DEMONS
3rd—feve1
conjura
tron
Casting
Time:
1
action
Range:
60
feet
Components:
V,
S,
M
(a
vial
of
blood
from
a
humanoid
killed
within
the
past
24
hours)
Duration:
Concentration,
up
to
1
hour
You
utter
foul
words,
summoning
demons
from
the
chaos
of
the
Abyss.
Roll
on
the
following
table
to
deter-
mine
what
appears.
d5
Demons
Summoned
1—2
Two
demons
ofchallenge
rating
1
or
lower
3—4
5—6
Four
demons
of
challenge
rating
1/2
or
lower
Eight
demons
ofchallenge
rating
1/4
or
lower
The
DM
chooses
the
demons,
such
as
manes
or
dretches,
and
you
choose
the
unoccupied
spaces
you
can
see
within
range
where
they
appear.
A
summoned
demon
disappears
when
it
drops
to
0
hit
points
or
when
the
spell
ends.
The
demons
are
hostile
to
all
creatures,
including
you.
Roll
initiative
for
the
summoned
demons
as
a
group,
which
has
its
own
turns.
The
demons
pursue
and
attack
the
nearest
non-demons
to
the
best
of
their
ability.
As
part
of
casting
the
spell,
you
can
form
a
circle
on
the
ground
with
the
blood
used
as
a
material
com—
ponent.
The
circle
is
large
enough
to
encompass
your
space.
While
the
spell
lasts,
the
summoned
demons
can’t
cross
the
circle
or
harm
it,
and
they
can‘t
target
anyone
within
it.
Using
the
material
component
in
this
manner
consumes
it
when
the
spell
ends.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
6th
or
7th
level,
you
summon
twice
as
many
demons.
If
you
cast
it
using
a
spell
slot
of
8th
or
9th
level,
you
summon
three
times
as
many
demons.
SYNAPTIC
STATIC
5tha1evel
enchantment
Casting
Time:
1
action
Range:
120
feet
Components:
V,
8
Duration:
Instantaneous
You
choose
a
point
within
range
and
cause
psychic
en-
ergy
to
explode
there.
Each
creature
in
a
20—foot—radius
sphere
centered
on
that
point
must
make
an
Intelligence
saving
throw.
A
creature
with
an
Intelligence
score
of
2
or
lower
can’t
be
affected
by
this
spell.
A
target
takes
8d6
psychic
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
After
a
failed
save,
a
target
has
muddled
thoughts
for
1
minute.
During
that
time,
it
rolls
a
d6
and
subtracts
the
number
rolled
from
all
its
attack
rolls
and
ability
checks,
as
well
as
its
Constitution
saving
throws
to
maintain
concentration.
The
target
can
make
an
Intelli-
gence
saving
throw
at
the
end
of
each
of
its
turns,
end-
ing
the
effect
on
itself
on
a
success.
TEMPLE
OF
THE
GODS
7th-level
conjuration
Casting
Time:
1
hour
Range:
120
feet
Components:
V,
S,
M
(a
holy
symbol
worth
at
least
5
gp)
Duration:
24
hours
You
cause
a
temple
to
shimmer
into
existence
on
ground
you
can
see
within
range.
The
temple
must
fit
within
an
unoccupied
cube
of
space,
up
to
120
feet
on
each
side.
The
temple
remains
until
the
spell
ends.
It
is
dedicated
to
whatever
god,
pantheon,
or
philosophy
is
represented
by
the
holy
symbol
used
in
the
casting.
You
make
all
decisions
about
the
temples
appear-
ance.
The
interior
is
enclosed
by
a
floor,
walls,
and
a
roof,
with
one
door
granting
access
to
the
interior
and
as
many
windows
as
you
wish.
Only
you
and
any
crea—
tures
you
designate
when
you
cast
the
spell
can
open
or
close
the
door.
The
temple’s
interior
is
an
open
space
with
an
idol
or
altar
at
one
end.
You
decide
whether
the
temple
is
illuminated
and
whether
that
illumination
is
bright
light
or
dim
light.
The
smell
of
burning
incense
fills
the
air
within,
and
the
temperature
is
mild.
The
temple
opposes
types
of
creatures
you
choose
when
you
cast
this
spell.
Choose
one
or
more
of
the
fol-
lowing:
celestials,
elementals,
fey,
fiends,
or
undead.
If
a
creature
of
the
chosen
type
attempts
to
enter
the
temple,
that
creature
must
make
a
Charisma
saving
throw.
On
a
failed
save,
it
can’t
enter
the
temple
for
24
hours.
Even
if
the
creature
can
enter
the
temple,
the
magic
there
hinders
it;
whenever
it
makes
an
attack
roll,
an
ability
check,
or
a
saving
throw
inside
the
temple,
it
must
roll
a
d4
and
subtract
the
number
rolled
from
the
d20
roll.
In
addition,
the
sensors
created
by
divination
spells
can’t
appear
inside
the
temple,
and
creatures
within
_
can’t
be
targeted
by
divination
spells.
3-,
Finally,
whenever
any
creature
in
the
temple
regains
l'
_|
hit
points
from
a
spell
of
let
level
or
higher,
the
creature
'
regains
additional
hit
points
equal
to
your
Wisdom
mod—
ifier
(minimum
1
hit
point).
i
The
temple
is
made
from
opaque
magical
force
that
i j
-
extends
into
the
Ethereal
Plane,
thus
blocking
ethereal
i
travel
into
the
temples
interior.
Nothing
can
physically
: :
pass
through
the
temple’s
exterior.
It
can’t
be
dispelled
ll
i5
by
dispei
magic,
and
antimagic
field
has
no
effect
on
it.
A
=
|
disintegrate
spell
destroys
the
temple
instantly.
'
Casting
this
spell
on
the
same
spot
every
day
for
a
year
makes
this
effect
permanent.
..
.
TENSER’S
TRANSFORMATION
'_
i
6th-ievei
transmutation
Casting
Time:
1
action
Range:
Self
Components:
V,
S,
M
(a
few
hairs
from
a
bull)
Duration:
Concentration,
up
to
10
minutes
'_'-vzl—
—
You
endow
yourselfwith
endurance
and
martial
prow-
ess
fueled
by
magic.
Until
the
spell
ends,
you
can’t
cast
.5
,
‘
spells,
and
you
gain
the
following
benefits:
'1.-.
._—-—.._.—.--.-.-.—
.__
.
-
:.
i
-
You
gain
50
temporary
hit
points.
If
any
of
these
re—
,
main
when
the
spell
ends,
they
are
lost.
i i
-
You
have
advantage
on
attack
rolls
that
you
make
with
simple
and
martial
weapons.
_
-
When
you
hit
a
target
with
a
weapon
attack,
that
tar-
;
i
get
takes
an
extra
2d
12
force
damage.
,
.
You
have
proficiency
with
all
armor,
shields,
simple
i]
weapons,
and
martial
weapons.
-
You
have
proficiency
in
Strength
and
Constitution
sav—
|
ing
throws.
-
You
can
attack
twice,
instead
of
once,
when
you
take
,_
the
Attack
action
on
your
turn.
You
ignore
this
benefit
j
if
you
already
have
a
feature,
like
Extra
Attack,
that
gives
you
extra
attacks.
Ei
Immediately
after
the
spell
ends,
you
must
succeed
on
a
DC
15
Constitution
saving
throw
or
suffer
one
level
of
exhausuon.
THUNDERCLAP
Evocation
cantrip
Casting
Time:
1
action
Range:
5
feet
Components:
8
Duration:
Instantaneous
You
create
a
burst
of
thunderous
sound
that
can
be
heard
up
to
100
feet
away.
Each
creature
within
range,
if
iii-l
other
than
you,
must
succeed
on
a
Constitution
saving
L
3
throw
or
take
ld6
thunder
damage.
The
spell’s
damage
increases
by
ld6
when
you
reach
5th
level
(2d6),
llth
level
(3d6),
and
17th
level
(4d6).
THUNDER
STEP
3rd-1eve1
conjura
tion
Casting
Time:
1
action
Range:
90
feet
Components:
V
Duration:
Instantaneous
You
teleport
yourself
to
an
unoccupied
space
you
can
see
within
range.
Immediately
after
you
disappear,
a
thunderous
boom
sounds.
and
each
creature
within
10
feet
of
the
space
you
left
must
make
a
Constitution
sav—
ing
throw,
taking
3l
thunder
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
The
thun—
der
can
be
heard
from
up
to
300
feet
away.
You
can
bring
along
objects
as
long
as
their
weight
doesn’t
exceed
what
you
can
carry.
You
can
also
tele—
port
one
willing
creature
of
your
size
or
smaller
who
is
carrying
gear
up
to
its
carrying
capacity.
The
creature
must
be
within
5
feet
of
you
when
you
cast
this
spell,
and
there
must
be
an
unoccupied
space
within
5
feet
of
your
destination
space
for
the
creature
to
appear
in;
oth-
erwise,
the
creature
is
left
behind.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
4th
level
or
higher,
the
damage
increases
by
ll
for
each
slot
level
above
3rd.
T1
DA
L
WAV
E
3rd—1evei
conjuration
Casting
Time:
1
action
Range:
120
feet
Components:
V,
S,
M
(a
drop
of
water)
Duration:
Instantaneous
You
conjure
up
a
wave
of
water
that
crashes
down
on
an
area
within
range.
The
area
can
be
up
to
30
feet
long,
up
to
10
feet
wide,
and
up
to
10
feet
tall.
Each
creature
in
that
area
must
make
a
Dexterity
saving
throw.
On
a
failed
save,
a
creature
takes
4d8
bludgeoning
damage
and
is
knocked
prone.
On
a
successful
save,
a
creature
takes
half
as
much
damage
and
isn’t
knocked
prone.
The
water
then
spreads
out
across
the
ground
in
all
directions,
extinguishing
unprotected
flames
in
its
area
and
within
30
feet
of
it,
and
then
it
vanishes.
TINY
SERVANT
3rd-Ievei
transmutation
Casting
Time:
1
minute
Range:
Touch
Components:
V,
S
Duration:
8
hours
You
touch
one
Tiny,
nonmagical
object
that
isn’t
at—
tached
to
another
object
or
a
surface
and
isn’t
being
carried
by
another
creature.
The
target
animates
and
sprouts
little
arms
and
legs,
becoming
a
creature
under
your
control
until
the
spell
ends
or
the
creature
drops
to
0
hit
points.
See
the
stat
block
for
its
statistics.
As
a
bonus
action,
you
can
mentally
command
the
creature
if
it
is
within
120
feet
of
you.
(Ifyou
control
multiple
creatures
with
this
spell,
you
can
command
any
or
all
of
them
at
the
same
time,
issuing
the
same
comu
I‘rp-v—t-
_
.-._._._
TINY
SERVANT
Tiny
construct,
unaligned
Armor
Class
15
(natural
armor)
Hit
Points
10
(4:14)
Speed
30
ft.,
climb
30
ft.
STR
DEX
CON
INT
WIS
CHA
4(—3)
16(+3)
10(+0)
2(—4)
10(+0)
l(—5)
Damage
Immunities
poison,
psychic
Condition
Immunities
blinded,
charmed,
deafened,
exhaustion,
frightened,
paralyzed,
petrified,
poisoned
Senses
blindsight
60
ft.
(blind
beyond
this
radius),
passive
Perception
10
Languages
—
Acne
N
s
Slam.
Melee
Weapon
Attack:
+5
to
hit,
reach
5
ft.,
one
target.
Hit:
5
(M4
+
3)
bludgeoning
damage.
I—
mand
to
each
one.)
You
decide
what
action
the
creature
will
take
and
where
it
will
move
during
its
next
turn,
or
you
can
issue
a
simple,
general
command,
such
as
to
fetch
a
key,
stand
watch,
or
stack
some
books.
If
you
is—
sue
no
commands,
the
servant
does
nothing
other
than
defend
itself
against
hostile
creatures.
Once
given
an
order,
the
servant
continues
to
follow
that
order
until
its
task
is
complete.
When
the
creature
drops
to
0
hit
points,
it
reverts
to
its
original
form,
and
any
remaining
damage
carries
over
to
that
form.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
4th
level
or
higher,
you
can
animate
two
ad-
ditional
objects
for
each
slot
level
above
3rd.
TOLL
THE
DEAD
Necromancy
cantrr'p
Casting
Time:
1
action
Range:
60
feet
Components:
V,
8
Duration:
Instantaneous
You
point
at
one
creature
you
can
see
within
range,
and
the
sound
of
a
dolorous
bell
fills
the
air
around
it
for
a
moment.
The
target
must
succeed
on
a
Wisdom
saving
throw
or
take
1d8
necrotic
damage.
If
the
target
is
missing
any
of
its
hit
points,
it
instead
takes
1d]
2
ne—
crotic
damage.
The
spell’s
damage
increases
by
one
die
when
you
reach
5th
level
(2d8
or
2(112),
11th
level
(3d8
or
3d12),
and
17th
level
(4d8
or
4dl2).
TRANSMUTE
ROCK
5th-leve1
transmutation
Casting
Time:
1
action
Range:
120
feet
Components:
V,
S,
M
(clay
and
water)
Duration:
Until
dispelled
You
choose
an
area
of
stone
or
mud
that
you
can
see
that
fits
within
a
40-foot
cube
and
is
within
range,
and
choose
one
of
the
following
effects.
Transmute
Rock
to
Mad.
N
onmagical
rock
of
any
sort
in
the
area
becomes
an
equal
volume
of
thick,
flow-
ing
mud
that
remains
for
the
spell’s
duration.
The
ground
in
the
spell’s
area
becomes
muddy
enough
that
creatures
can
sink
into
it.
Each
foot
that
a
creature
moves
through
the
mud
costs
4
feet
of
movement,
and
any
creature
on
the
ground
when
you
cast
the
spell
must
make
3
Strength
saving
throw.
A
creature
must
also
make
the
saving
throw
when
it
moves
into
the
area
for
the
first
time
on
a
turn
or
ends
its
turn
there.
On
a
failed
save,
a
creature
sinks
into
the
mud
and
is
restrained,
though
it
can
use
an
action
to
end
the
restrained
condi-
tion
on
itself
by
pulling
itself
free
of
the
mud.
If
you
cast
the
spell
on
a
ceiling,
the
mud
falls.
Any
creature
under
the
mud
when
it
falls
must
make
a
Dex-
terity
saving
throw.
A
creature
takes
4d8
bludgeoning
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
Transmute
Mud
to
Rock.
N
onmagical
mud
or
quick-
sand
in
the
area
no
more
than
10
feet
deep
transforms
into
soft
stone
for
the
spell’s
duration.
Any
creature
in
the
mud
when
it
transforms
must
make
a
Dexterity
sav—
ing
throw.
On
a
successful
save,
a
creature
is
shunted
safely
to
the
surface
in
an
unoccupied
space.
On
a
failed
save,
a
creature
becomes
restrained
by
the
rock.
A
re—
strained
creature,
or
another
creature
within
reach,
can
use
an
action
to
try
to
break
the
rock
by
succeeding
on
a
DC
20
Strength
check
or
by
dealing
damage
to
it.
The
rock
has
AC
15
and
25
hit
points,
and
it
is
immune
to
poison
and
psychic
damage.
VITRIOLIC
SPHERE
4th-leve1
evocation
Casting
Time:
1
action
Range:
150
feet
Components:
V,
S,
M
(a
drop
of
giant
slug
bile)
Duration:
Instantaneous
You
point
at
a
location
within
range,
and
a
glowing,
1-foot—diameter
ball
of
emerald
acid
streaks
there
and
explodes
in
a
20-foot—radius
sphere.
Each
creature
in
that
area
must
make
a
Dexterity
saving
throw.
On
a
failed
save,
a
creature
takes
10d4
acid
damage
and
an—
other
5d4
acid
damage
at
the
end
of
its
next
turn.
On
a
successful
save,
a
creature
takes
half
the
initial
damage
and
no
damage
at
the
end
of
its
next
turn.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
5th
level
or
higher,
the
initial
damage
in—
creases
by
2d4
for
each
slot
level
above
4th.
WALL
OF
LIGHT
Stir-level
evocation
Casting
Time:
1
action
Range:
120
feet
Components:
V,
S,
M
(a
hand
mirror)
Duration:
Concentration,
up
to
10
minutes
A
shimmering
wall
of
bright
light
appears
at
a
point
you
choose
within
range.
The
wall
appears
in
any
orienta-
tion
you
choose:
horizontally,
vertically,
or
diagonally.
It
can
be
free
floating,
or
it
can
rest
on
a
solid
surface.
The
wall
can
be
up
to
60
feet
long,
10
feet
high,
and
5
feet
thick.
The
wall
blocks
line
of
sight,
but
creatures
and
ob-
jects
can
pass
through
it.
It
emits
bright
light
out
to
120
feet
and
dim
light
for
an
additional
120
feet.
When
the
wall
appears,
each
creature
in
its
area
must
make
a
Constitution
saving
throw.
On
a
failed
save,
a
creature
takes
4d8
radiant
damage,
and
it
is
blinded
for
1
minute.
On
a
successful
save,
it
takes
half
as
much
damage
and
isn’t
blinded.
A
blinded
creature
can
make
a
Constitution
saving
throw
at
the
end
of
each
of
its
turns,
ending
the
effect
on
itself
on
a
success.
A
creature
that
ends
its
turn
in
the
wall’s
area
takes
4d8
radiant
damage.
Until
the
spell
ends,
you
can
use
an
action
to
launch
a
beam
of
radiance
from
the
wall
at
one
creature
you
can
see
within
60
feet
of
it.
Make
a
ranged
spell
attack.
On
a
hit,
the
target
takes
4d8
radiant
damage.
Whether
you
hit
or
miss,
reduce
the
length
of
the
wall
by
10
feet.
If
the
walls
length
drops
to
0
feet,
the
spell
ends.
At
Higher
Levels.
When
you
cast
this
spell
using
a
spell
slot
of
6th
level
or
higher,
the
damage
increases
by
1d8
for
each
slot
level
above
5th.
WALL
or
SAND
3rd—ievei
evocation
Casting
Time:
1
action
Range:
90
feet
Components:
V,
S,
M
(a
handful
of
sand)
Duration:
Concentration,
up
to
10
minutes
You
create
a
wall
of
swirling
sand
on
the
ground
at
a
point
you
can
see
within
range.
You
can
make
the
wall
up
to
30
feet
long,
10
feet
high,
and
10
feet
thick,
and
it
vanishes
when
the
spell
ends.
It
blocks
line
of
sight
but
not
movement.
A
creature
is
blinded
while
in
the
walls
space
and
must
spend
3
feet
of
movement
for
every
1
foot
it
moves
there.
WALL
OF
WATER
3rd-level
evocation
Casting
Time:
1
action
Range:
60
feet
Components:
V,
S,
M
(a
drop
of
water)
Duration:
Concentration,
up
to
10
minutes
You
create
a
wall
of
water
on
the
ground
at
a
point
you
can
see
within
range.
You
can
make
the
wall
up
to
30
feet
long,
10
feet
high,
and
1
foot
thick,
or
you
can
make
a
ringed
wall
up
to
20
feet
in
diameter,
20
feet
high,
and
1
foot
thick.
The
wall
vanishes
when
the
spell
ends.
The
wall’s
space
is
difficult
terrain.
Any
ranged
weapon
attack
that
enters
the
walls
space
has
disadvantage
on
the
attack
roll,
and
fire
damage
is
halved
if
the
fire
effect
passes
through
the
wall
to
reach
its
target.
Spells
that
deal
cold
damage
that
pass
through
the
wall
cause
the
area
of
the
wall
they
pass
through
to
freeze
solid
(at
least
a
S-foot-square
section
is
frozen).
Each
5-foot—square
frozen
section
has
AC
5
and
15
hit
points.
Reducing
a
frozen
section
to
0
hit
points
destroys
it.
When
a
section
is
destroyed,
the
walls
water
doesn’t
fill
it.
WA
R
DIN
G
WIN
D
2nd—Ieve]
evocation
Casting
Time:
1
action
Range:
Self
Components:
V
Duration:
Concentration,
up
to
10
minutes
A
strong
wind
(20
miles
per
hour)
blows
around
you
in
a
10-foot
radius
and
moves
with
you,
remaining
centered
on
you.
The
wind
lasts
for
the
spell’s
duration.
The
wind
has
the
following
effects:
-
It
deafens
you
and
other
creatures
in
its
area.
.
lt
extinguishes
unprotected
flames
in
its
area
that
are
torch—sized
or
smaller.
-
It
hedges
out
vapor,
gas,
and
fog
that
can
be
dispersed
by
strong
wind.
.
The
area
is
difficult
terrain
for
creatures
other
than
you.
-
The
attack
rolls
of
ranged
weapon
attacks
have
disad—
vantage
if
the
attacks
pass
in
or
out
of
the
wind.
WATERY
SPHERE
4th-Ieve1
conjuration
Casting
Time:
1
action
Range:
90
feet
Components:
V,
S,
M
(a
droplet
of
water)
Duration:
Concentration,
up
to
1
minute
You
conjure
up
a
sphere
of
water
with
a
5~foot
radius
at
a
point
you
can
see
within
range.
The
sphere
can
hover
but
no
more
than
10
feet
off
the
ground.
The
sphere
re-
mains
for
the
spell’s
duration.
L3 _
Any
creature
in
the
spheres
space
must
make
a
Strength
saving
throw.
On
a
successful
save,
a
creature
is
ejected
from
that
space
to
the
nearest
unoccupied
space
of
the
creature’s
choice
outside
the
sphere.
A
Huge
or
larger
creature
succeeds
on
the
saving
throw
automatically,
and
a
Large
or
smaller
creature
can
choose
to
fail
it.
On
a
failed
save,
a
creature
is
restrained
by
the
sphere
and
is
engulfed
by
the
water.
At
the
end
of
each
of
its
turns,
a
restrained
target
can
repeat
the
sav—
ing
throw,
ending
the
effect
on
itself
on
a
success.
The
sphere
can
restrain
as
many
as
four
Medium
or
smaller
creatures
or
one
Large
creature.
If
the
sphere
restrains
a
creature
that
causes
it
to
exceed
this
capac-
ity,
a
random
creature
that
was
already
restrained
by
the
sphere
falls
out
of
it
and
lands
prone
in
a
space
within
5
feet
of
it.
As
an
action,
you
can
move
the
sphere
up
to
30
feet
in
a
straight
line.
If
it
moves
over
a
pit,
a
cliff,
or
other
drop-off,
it
safely
descends
until
it
is
hovering
10
feet
above
the
ground.
Any
creature
restrained
by
the
sphere
moves
with
it.
You
can
ram
the
sphere
into
creatures,
forcing
them
to
make
the
saving
throw.
When
the
spell
ends,
the
sphere
falls
to
the
ground
and
extinguishes
all
normal
flames
within
30
feet
ofit.
Any
creature
restrained
by
the
sphere
is
knocked
prone
in
the
space
where
it
falls.
The
water
then
vanishes.
WHIRLWIND
7
tit-level
evocation
Casting
Time:
1
action
Range:
300
feet
Components:
V,
M
(a
piece
of
straw)
Duration:
Concentration,
up
to
1
minute
A
whirlwind
howls
down
to
a
point
that
you
can
see
on
the
ground
within
range.
The
whirlwind
is
a
10-foot—radius,
30—foot—high
cylinder
centered
on
that
point.
Until
the
spell
ends,
you
can
use
your
action
to
move
the
whirlwind
up
to
30
feet
in
any
direction
along
the
ground.
The
whirlwind
sucks
up
any
Medium
or
smaller
objects
that
aren’t
secured
to
anything
and
that
aren’t
worn
or
carried
by
anyone.
A
creature
must
make
a
Dexterity
saving
throw
the
first
time
on
a
turn
that
it
enters
the
whirlwind
or
that
the
whirlwind
enters
its
space,
including
when
the
whirl-
wind
first
appears.
A
creature
takes
10d6
bludgeoning
damage
on
a
failed
save,
or
half
as
much
damage
on
a
successful
one.
In
addition,
a
Large
or
smaller
creature
that
fails
the
save
must
succeed
on
a
Strength
saving
throw
or
become
restrained
in
the
whirlwind
until
the
spell
ends.
When
a
creature
starts
its
turn
restrained
by
the
whirlwind,
the
creature
is
pulled
5
feet
higher
inside
it,
unless
the
creature
is
at
the
top.
A
restrained
creature
moves
with
the
whirlwind
and.
falls
when
the
spell
ends,
unless
the
creature
has
some
means
to
stay
aloft.
A
restrained
creature
can
use
an
action
to
make
a
Strength
or
Dexterity
check
against
your
spell
save
DC.
If
successful,
the
creature
is
no
longer
restrained
by
the
whirlwind
and
is
hurled
3d6
X
10
feet
away
from
it
in
a
random
direction.
WORD
or
RADIANCE
Evocation
cantrt'p
Casting
Time:
1
action
Range:
5
feet
Components:
V,
M
(a
holy
symbol)
Duration:
Instantaneous
You
utter
a
divine
word,
and
burning
radiance
erupts
from
you.
Each
creature
of
your
choice
that
you
can
see
within
range
must
succeed
on
a
Constitution
saving
throw
or
take
ld6
radiant
damage.
The
spell’s
damage
increases
by
1d6
when
you
reach
5th
level
(2d6),
11th
level
(3d6),
and
17th
level
(4d6).
WRATH
OF
NATURE
5th—level
evocation
Casting
Time:
1
action
Range:
120
feet
Components:
V,
S
Duration:
Concentration,
up
to
1
minute
You
call
out
to
the
spirits
of
nature
to
rouse
them
against
your
enemies.
Choose
a
point
you
can
see
within
range.
The
spirits
cause.
trees,
rocks,
and
grasses
in
a
60-foot
cube
centered
on
that
point
to
become
ani-
mated
until
the
spell
ends.
Grasses
and
Undergrowth.
Any
area
of
ground
in
the
cube
that
is
covered
by
grass
or
undergrowth
is
difficult
terrain
for
your
enemies.
Trees.
At
the
start
of
each
of
your
turns,
each
of
your
enemies
within
10
feet
of
any
tree
in
the
cube
must
suc—
ceed
on
a
Dexterity
saving
throw
or
take
4d6
slashing
damage
from
whipping
branches.
Roots
and
Vines.
At
the
end
of
each
of
your
turns,
one
creature
of
your
choice
that
is
on
the
ground
in
the
cube
must
succeed
on
a
Strength
saving
throw
or
become
restrained
until
the
spell
ends.
A
restrained
creature
can
use
an
action
to
make
a
Strength
(Athletics)
check
against
your
spell
save
DC,
ending
the
effect
on
itself
on
a
success.
Rocks.
As
a
bonus
action
on
your
turn,
you
can
cause
a
loose
rock
in
the
cube
to
launch
at
a
creature
you
can
see
in
the
cube.
Make
a
ranged
spell
attack
against
the
target.
On
a
hit,
the
target
takes
3d8
nonmagical
blud-
geoning
damage,
and
it
must
succeed
on
a
Strength
saving
throw
or
fall
prone.
ZEPHYR
STRIKE
lat—level
transmutation
Casting
Time:
1
bonus
action
Range:
Self
Components:
V
Duration:
Concentration,
up
to
1
minute
You
move
like
the
wind.
Until
the
spell
ends,
your
move-
ment
doesn’t
provoke
opportunity
attacks.
Once
before
the
spell
ends,
you
can
give
yourself
ad—
vantage
on
one
weapon
attack
roll
on
your
turn.
That
at-
tack
deals
an
extra
1d8
force
damage
on
a
hit.
Whether
you
hit
or
miss,
your
walking
speed
increases
by
30
feet
until
the
end
of
that
turn.
APPENDIX
A:
SHARED
CAMPAIGNS
Coordinating
a
regular
schedule
of
D&D
game
sessions,
to
keep
a
campaign
active
and
vibrant,
can
be
a
chal-
lenge.
If
the
campaign’s
only
Dungeon
Master
or
enough
players
aren’t
available,
the
next
session
might
have
to
be
postponed,
and
repeated
problems
of
this
sort
can
endanger
the
continuation
of
the
campaign.
In
short:
in
a
world
filled
with
distractions,
it
can
be
hard
to
keep
a
campaign
going.
Enter
the
concept
of
the
shared
campaign.
In
a
shared
campaign,
more.
than
one
member
of
the
group
can
take
on
the
role
of
DM.
A
shared
campaign
is
episodic
rather
than
continuous,
with
each
play
session
comprising
a
complete
adventure.
The
largest
shared
campaigns
are
administered
by
the
D&D
Adventurers
League
and
overseen
by
Wizards
of
the
Coast.
You
can
also
create
your
own
shared
cam-
paign
for
a
school
D&D
club,
at
a
game
store,
a
library,
or
anywhere
else
where
D&D
players
and
DMs
gather.
A
shared
campaign
establishes
a
framework
that
al-
lows
a
player
to
take
a
character
from
one
DM’s
game
to
another
one
within
the
shared
campaign.
It
creates
a
situation
where
almost
nothing
can
prevent
a
scheduled
session
from
happening.
The
roster
of
potential
players
can
be
quite
large,
virtually
ensuring
that
any
session
has
at
least
the
minimum
number
of
characters
needed
to
play.
If
everyone
shows
up
to
play
at
the
same
time,
multiple
DMs
ensure
that
everyone
can
take
part.
A
k
Coos
OF
CONDUCT
Time
and
time
again,
the
core
rulebooks
come
back
to
the
point
that
the
most
important
goal
ofa
D&D
play
ses-
sion
is
for
everyone
involved
to
have
fun.
In
keeping
with
that
goal,
it’s
a
good
idea
for
a
shared
campaign
to
have
a
code
ofconduct.
Because
people
who
don’t
normally
play
together
might
end
up
at
the
same
table
in
a
shared
campaign,
it
can
be
helpful
to
establish
some
ground
rules
for
behavior.
On
the
broadest
level,
everyone
in
a
shared
campaign
is
responsible
for
making
sure
that
everyone
else
has
an
enjoyable
time.
Ifanyone
feels
offended,
belittled,
or
bul-
lied
by
the
actions
of
another
person,
the
entire
purpose
of
getting
together
to
play
is
defeated.
The
basic
code
ofconduct
for
a
shared
campaign
might
be
modeled
on
a
similar
document
that
another
organiza-
tion
or
location
uses.
Beyond
that,
some
special
policies
might
need
to
be
added
to
account
for
what
might
happen
at
the
table
when
players
and
DM5
interact.
As
a
starting
point,
consider
the
following
material,
which
is
excerpted
from
the
Adventurers
League
code
of
conduct.
During
a
play
session,
participants
are
expected
to
Follow
the
DM’s
lead
and
refrain
from
arguing
with
the
DM
or
other
players
over
rules.
Let
other
players
speak,
and
allow
other
players
to
get
attention
from
the
DM.
Avoid
excessive
conversation
that
is
not
relevant
to
the
adventure.
Discourage
others
from
using
social
media
to
bully,
shame,
or
intimidate
other
participants.
Make
the
DM
or
the
campaign’s
administrators
aware
ofdisruptive
or
aggressive
behavior
so
that
appropriate
action
can
be
taken.
1!
In
order
to
be
successful,
a
shared
campaign
needs
a
champion—someone
who
takes
on
the
responsibil—
ity
of
organizing
and
maintaining
the
group.
If
you’re
interested
in
learning
more
about
how
to
run
a
shared
campaign
and
seeing
how
the
Adventurers
League
handles
certain
issues,
then
the
rest
of
this
appendix
is
meant
for
you.
DESIGNING
ADVENTURES
Designing
adventures
for
a
shared
campaign
involves
a
different
set
of
considerations
than
designing
for
a
stan-
dard
group
of
players.
Most
important,
the
adventure
must
be
timed
to
conclude
when
the
session
is
sched-
uled
to
end.
You
also
need
to
balance
combat
encounters
for
a
range
of
levels,
since
a
wide
range
of
characters
might
be
experiencing
the
adventure
at
the
same
time.
ADVENTURE
DURATION
Every
adventure
in
a
shared
campaign
begins
and
ends
in
the
same
play
session.
(If
a
group
of
participants
wants
to
take
longer
to
finish
and
all
are
willing
to
do
so,
they
can
exceed
the
time
limit.)
A
session
or
an
event
can’t
end
with
the
adventure
unfinished,
since
there’s
no
way
to
guarantee
that
the
same
players
and
DM
will
be
available
for
the
next
session.
Typically,
adventures
in
a
shared
campaign
are
de—
signed
to
take
either
2
hours
or
4
hours.
In
each
hour
of
play,
assume
the
characters
can
complete
the
following:
-
Three
or
four
simple
combat
encounters,
or
one
or
two
complex
ones
-
Three
or
four
scenes
involving
significant
exploration
or
social
interaction
Within
these
constraints,
it
can
be
difficult
to
create
open—ended
adventures.
A
time
limit
assumes
a
specific
starting
point
and
endpoint.
A
good
way
to
get
around
this
restriction
is
to
create
an
adventure
with
multiple
possible
endings.
Location-based
adventures
also
work
well
with
this
format.
A
dungeon
presents
a
natural
limit
on
character
options,
while
still
giving
the
players
choices.
The
ad-
venture
could
be
a
quest
to
defeat
a
creature
or
recover
an
item,
but
the
path
to
achieving
that
goal
can
be
differ-
ent
for
each
group.
For
more
narrative
adventures,
try
to
focus
on
simple
but
flexible
encounters
or
events.
For
instance,
an
ad—
venture
requires
the
characters
to
protect
a
high
priest
of
Tyr
from
assassins.
Give
the
players
a
chance
to
plan
out
how
they
want
to
protect
the
temple,
complete
with
authority
over
the
guards.
A
few
well-fleshed
out
NPCs,
some
of
whom
might
be
suspected
of
working
with
the
temples
enemies,
add
a
layer
of
tension.
Consider
leav-
ing
some
details
or
plot
points
for
the
DM
to
decide.
For
example,
the
DM
might
have
the
option
to
pick
which
member
of
the
temple
guards
is
the
traitor,
ensuring
that
the
scenario
is
different
for
each
group.
COMBAT
ENCOUNTERS
Design
your
adventure
for
one
of
the
four
tiers,
as
set
forth
in
chapter
1
of
the
Player’s
Handbook:
tier
1
in—
cludes
levels
1—4,
tier
2
is
levels
5—10,
tier
3
is
levels
11—16,
and
tier
4
includes
levels
17—20.
Within
each
tier,
it’s
a
good
idea
to
use
a
specific
level
as
a
starting
point.
Assume
a
party
of
five
3rd—level
characters
for
tier
1,
five
8th-level
characters
for
tier
2,
five
13th-level
characters
for
tier
3,
and
five
18th-1evel
characters
for
tier
4.
Use
that
assumption
when
creating
combat
encounters,
whether
you
use
the
encounter—building
rules
in
the
Dungeon
Master's
Guide
or
are
making
an
estimate.
For
each
battle,
provide
guidelines
to
help
DMs
adjust
the
difficulty
up
or
down
to
match
stronger
or
weaker
parties.
As
a
rule
of
thumb.
account
for
a
party
two
levels
higher
and
for
a
party
two
levels
lower,
and
don’t
worry
about
balancing
the
adventure
for
parties
outside
the
adventure’s
tier.
REWARDS
Adventures
in
a
shared
campaign
that
uses
variant
rules
for
gaining
levels
and
acquiring
treasure
(such
as
those
described
below)
don’t
include
experience
point
awards
or
specific
amounts
and
kinds
Of
treasure.
CHARACTER
CREATION
A
shared
campaign’s
guidelines
for
character
creation
might
include
definition
of
which
races
and
classes
players
can
choose
from,
how
players
generate
ability
scores,
and
which
alignments
players
can
choose.
PLAYER’S
HANDBOOK
PLUS
ONE
You
should
think
about
which
products
players
can
use
to
create
a
character.
The
Adventurers
League
specifies
that
a
player
can use
the
Player’s
Handbook
and
one
other
official
DE'vD
source,
such
as
a
book
or
a
PDF,
to
create
a
character.
This
restriction
ensures
that
players
don’t
need
to
own
a
lot
of
books
to
make
a
character
and
makes
it
easier
for
DMs
to
know
how
all
the
char-
acters
in
the
campaign
work.
Since
a
BM
in
a
shared
campaign
must
deal
with
a
broad
range
of
characters,
rather
than
the
same
characters
each
week,
it
can
be
dif—
ficult
to
track
all
the
interactions
and
abilities
possible
through
mixing
options
freely.
We
strongly
recommend
this
rule
for
any
shared
campaign.
ABILITY
SCORES
For
generating
ability
scores,
we
recommend
allowing
players
to
choose
between
the
standard
array—15,
14,
13,
12.,
10,
8—and
the
option
presented
in
“Variant:
Customizing
Ability
Scores”
in
chapter
1
of
the
Play-
er’s
Handbook.
STARTING
EQUIPMENT
For
the
sake
of
simplicity
and
efficiency,
it’s
a
good
idea
to
require
that
beginning
characters
must
take
the
starting
equipment
specified
by
a
character’s
class
and
background.
VARIANT
RULES
A
shared
campaign
might
use
some
variant
rules
to
handle
certain
aspects
of
the
game.
The
Adventurers
League,
for
instance,
has
variant
systems
for
gaining
levels
and
acquiring
treasure.
These
“house
rules,”
presented
below,
serve
as
a
sort
of
common
language,
ensuring
that
the
rewards
all
characters
receive
are
equivalent
no
matter
what
kind
of
adventure
a
character
experienced.
CHARACTER
ADVANCEMENT
In
a
shared
campaign,
characters
gain
levels
not
by
accumulating
experience
points
but
by
reaching
experi—
ence
checkpoints.
This
system
rewards
every
character
(and
player)
for
taking
part
in
a
play
session.
A
character
reaches
1
checkpoint
for
each
hour
an
adventure
is
designed
to
last.
Note
that
the
award
is
based
on
the
adventures
projected
playing
time,
rather
than
the
actual
time
spent
at
the
table.
The
reward
for
completing
an
adventure
designed
for
2
hours
Of
play
is
2.
checkpoints,
even
if
a
group
spends
more
than
2
hours
playing
through
it.
If
a
character
completes
an
adventure
designed
for
a
tier
higher
than
the
character's
current
tier,
the
char-
acter
is
awarded
1
additional
checkpoint.
For
example,
if
a
2nd-level
character
completes
a
6th—level
adven—
ture
designed
to
take
2
hours,
the
character
reaches
3
checkpoints.
Playing
time
might
seem
like
an
Odd
way
to
measure
experience
awards,
but
the
concept
is
in
keeping
with
how
a
shared
campaign
is
meant
to
work.
A
character
played
for
10
hours
reaches
the
same
number
Of
check-
points,
whether
the
character
went
up
against
a
dragon
or
spent
all
that
time
lurking
in
a
pub.
This
approach
en—
sures
that
a
player's
preferred
style
is
neither
penalized
nor
rewarded.
Whether
someone
focuses
on
roleplaying
and
social
interaction,
defeating
monsters
in
combat,
or
finding
clever
ways
to
avoid
battles,
this
system
gives
credit
where
credit
is
due.
USING
CHECKPOINTS
The
number
of
checkpoints
needed
to
gain
the
next
level
depends
on
a
character’s
level:
-
At
levels
1—4,
reaching
4
checkpoints
is
sufficient
to
advance
tO
the
next
level.
-
At
level
5
or
higher,
reaching
8
checkpoints
is
needed
tO
advance
to
the
next
level.
At
the
end
Of
a
play
session,
characters
must
level
up
if
they
have
reached
enough
checkpoints
to
do
so.
The
required
number
of
checkpoints
is
expended,
and
any
remaining
checkpoints
are
applied
toward
the
next
op-
portunity
for
advancement.
INDIVIDUAL
TREASURE
In
a
shared
campaign,
each
character
receives
a
fixed
number
of
gold
pieces
upon
gaining
a
new
level.
(This
gain
represents
the
treasure
a
character
might
find
in
a
standard
adventure.)
As
an
additional
benefit,
characters
are
not
required
to
put
out
gold
to
maintain
a
lifestyle.
Instead,
each
char—
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acter
begins
with
a
modest
lifestyle,
which
improves
as
the
character
attains
higher
levels.
These
benefits
are
summarized
on
the
Individual
Treasure
table.
Ways
for
characters
to
spend
their
treasure
are
covered
in
the
“Buying
and
Selling"
sec-
tion
below.
INDIVIDUAL
TREASURE
Level
Gained
Lifestyle
Reward
2—4
Modest
75
gp
5-10
Comfortable
150
gp
11—16
Wealthy
550
gp
17—20
Aristocratic
5,500
gp
MAGIC
ITEMS
Characters
earn
treasure
points
from
adventures,
then
redeem
those
points
in
exchange
for
magic
items.
The
list
of
available
magic
items
is
agreed
to
and
compiled
by
the
DMs
running
the
campaign.
GAINING
TREASURE
POINTS
Each
character
earns
treasure
points
based
on
an
ad-
venture’s
tier
and
its
intended
playing
time:
-
1
treasure
point
is
awarded
for
every
2
hours
played
in
a
tier
1
or
tier
2
adventure.
-
1
treasure
point
is
awarded
for
every
1
hour
played
in
a
tier
3
or
tier
4
adventure.
As
with
the
variant
rules
for
gaining
levels,
this
award
is
based
on
the
adventures
projected
playing
time,
rather
than
the
actual
time
a
group
spent
at
the
table.
If
a
character
completes
an
adventure
of
a
tier
higher
than
that
character’s
tier,
the
character
receives
1
addi-
tional
treasure
point
for
that
adventure.
CREATING
AN
ITEM
LIST
The
DMs
of
the
shared
campaign
should
work
together
to
compile
a
list
of
magic
items
that
players
can
pur-
chase.
The
magic
item
tables
in
chapter
2
of
this
book
and
in
chapter
7
of
the
Dungeon
Master’s
Guide
are
the
obvious
starting
point.
Choosing
which
items
to
allow
or
ban
is
a
matter
of
personal
preference,
just
as
it
is
for
the
BM
in
a
standard
campaign.
Involving
all
the
DMs
helps
to
ensure
that
the
list
meets
everyone’s
expecta-
tions.
When
in
doubt,
disallow
an
item;
it’s
easier
to
add
it
to
the
available
items
at
a
later
time
than
it
would
be
to
remove
it
from
the
game
once
it
has
been
handed
out.
Naturally,
the
list
of
available
items
is
longer
for
ad—
ventures
in
the
higher
tiers,
and
the
point
cost
of
those
higher—tier
items
likewise
increases.
The
Magic
Items
by
Tier
table
provides
the
details.
For
instance,
treasure
points
from
a
tier
1
adventure
can
be
spent
on
items
from
tables
A,
B.
C.
and
F.
Any
item
on
the
first
three
tables
costs
4
points,
and
an
item
from
table
F
costs
8
points.
MAGIC
ITEMS
BY
TIER
Magic
Item
Table
Available
at
Tiers
Point
Cost
A
1—4
4
B
1—4
4
C
1—4
4
D
2—4
3
E
3—4
3
F
1~4
8
G
2—4
10
H
3-—4
10
l
3—4
12
SPENDING
TREASURE
POINTS
Players
must
spend
treasure
points
at
the
end
of
a
play
session,
immediately
after
determining
whether
their
characters
have
gained
a
level.
The
order
of
these
steps
is
important,
since
a
character
might
enter
a
new
tier
because
of
the
level
gain.
Players
are
entitled
to
choose
any
approved
item
from
one
of
the
magic
item
tables
available
in
the
current
tier.
Treasure
points
can
be
spread
across
multiple
items.
Many
items
cost
more
treasure
points
than
a
charac-
ter
can
earn
in
a
2—
or
4—hour
adventure.
To
buy
such
an
item,
a
character
can
make
a
deposit,
spending
treasure
points
on
the
item
until
it’s
paid
off,
at
which
time
the
character
gains
the
item.
BUYING
AND
SELLING
Characters
Can
use
their
monetary
treasure
to
purchase
anything
from
the
equipment
lists
in
chapter
5
of
the
Player’s
Handbook.
In
addition.
the
Adventurers
League
allows
characters
to
purchase
potions
and
speli
scroiis,
as
detailed
below.
A
spefl
scroll
can
be
purchased
only
by
a
character
who
is
capable
of
casting
the
spell
in
question.
POTIONS
FOR
SALE
Potion
of
Cost
Potion
of
Cost
Water
breathing
100
gp
Climbing
75
gp
Superior
herding
500
gp
Animalfriendship
100
gp
Supreme
heaiing
5,000
gp
Greater
healing
100
gp
invisibility
5,000
gp
Healing
50
gp
SPELL
SCROLLS
FOR
SALE
Spell
Level
Cost
Spell
Level
Cost
Cantrip
25
gp
3rd
300
gp
1st
75
gp
4th
500
gp
2nd
150
gp
5th
1,000
gp
SELLING
ITEMS
In
a
shared
campaign,
characters
are
not
entitled
to
sell
items
they
find
on
adventures
or
equipment
they
pur-
chase
with
their
personal
funds.
Weapons,
armor,
and
other
gear
used
by
enemies
are
considered
too
damaged
to
have
any
monetary
value.
APPENDIX
B:
CHARACTER
NAMES
Some
players
and
DM5
have
a
knack
for
coming
up
with
character
names
on
the
fly,
while
others
find
that
task
more
of
a
challenge.
The
tables
in
this
appendix
are
designed
to
make
life
easier
for
both
kinds
of
people,
whether
you’re
naming
a
player
character,
a
nonplayer
character,
a
monster,
or
even
a
place.
Each
table
contains
names
that
are
associated
with
a
nonhuman
character
race
in
the
Player’s
Handbook
or
a
real-world
ethnic
or
language
group,
with
a
focus
on
groups
from
antiquity
and
the
Middle
Ages.
You
can
NONHUMAN
NAMES
DRAGONBORN,
FEMALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35-36
37—38
39-40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—66
67—68
Name
Akra
Aasathra
Antrara
Arava
Biri
Blend
aeth
Bu
rana
Chassath
Daar
Dentratha
Doudra
Driindar
Eggren
Fa
rideh
Findex
Furrele
Gesrethe
Gilkass
Harann
Havilar
Hethress
H
illanot
}axi
Jezean
Jheri
Kadana
Kava
Koflnn
Megren
Mijira
Mishann
Nala
Nuthra
Perra
DRAGONBORN,
FEMALE
d100
Name
69—70
Pogranix
71—72
Pyxrin
73—74
Quespa
75—76
Raiann
77—78
Rezena
79—80
Ruloth
81—82
Saphara
83—84
Savaran
85—86
Sora
87—88
Surina
89—90
Synthrin
91—92
Tatyan
93—94
Thava
95—96
Uadflt
97—98
Vezera
99—00
Zykrofl
DRAGONBORN,
MALE
d100
Name
01—02
Adrex
03—04
Arjhan
05—06
Azzakh
07-08
Balasar
09-10
Baradad
11—12
Bharash
13—14
Bidreked
15—16
Dadalan
17—18
Dazzazn
19—20
Direcris
21—22
Donaar
23—24
Fax
25—26
Gargax
27—28
Ghesh
29—30
Gorbundus
select
from
the
possibilities
here,
or
use
dice
to
deter-
mine
a
name.
Even
though
names
are
associated
with
races
in
this
appendix,
a
character
might
not
have
a
name
from
their
own
race.
For
instance,
a
half—ore
might
have
grown
up
among
dwarves
and
have
a
dwarven
name.
Or,
as
DM,
you
might
decide
that
dragonborn
in
your
campaign
have
a
culture
reminiscent
of
ancient
Rome
and
there-
fore
use
Roman
names,
rather
than
the
dragonborn
names
suggested
here.
DRAGONBORN,
MALE
d100
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53~54
55—56
57—58
59—60
61—62
63—64
65—66
67—68
69—70
71—72
73—74
75—76
77—73
79—30
81—82
83—84
85—86
87—88
89—90
91—92
93—94
95—96
97—98
99—00
Name
Greethen
Heskan
Hirrathak
lldrex
Kaladan
Kerkad
KHflth
Kriv
Maagog
Medrash
Mehen
Mozikth
Mreksh
Mugrunden
Nadarr
Nithther
Norkruuth
Nykkan
Pandjed
Patrin
PUfink
Quarethon
Rathkran
Rhogar
Rivaan
Sethrekar
Shamash
Shedinn
Srorthen
Tarhun
Torinn
Trynnicus
Valorean
Vrondiss
Zedaar
d100
01—02
03-04
05—06
07-08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29-30
31—32
33-34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—66
67—68
69—70
71—72
DRAGONEORN,CLAN
Name
Akambheryliiax
Argenth
rixus
Baharoosh
Beryntolthropal
Bhenkumbyrznaax
Caavylteradyn
Chumbyxirinnish
Clethtinthiallor
Daardendrian
Delmirev
Dhyrktelonis
Ebynichtomonis
Esstyrlynn
Fharngnarthnost
Ghaallixirn
Grrrmmballhyst
Gygazzylyshrift
Hashphronyxadyn
Hshhsstoroth
lmbixtellrhyst
Jerynomonis
Jharthraxyn
Kerrhylon
Kimbatuul
Lhamboldennish
Linxakasendalor
Mohradyllion
Mystan
Nemmonis
Norixius
Ophinshtalajiir
Orexijandilin
Pfaphnyrennish
Phrahdrandon
Pyraxtallinost
npahrgh
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DRAGONBORN,
CLAN
d100
Name
73—74
Raghthroknaar
75—76
Shestendeliath
77—73
Skaarzborroosh
79—30
Sumnarghthrysh
31—32
Tiammanthyilish
33—34
Turnuroth
35-36
Umbyrphrael
37—88
Vangdondalor
39—90
Verthisathurgiesh
91—92
Wiwyrholdalphiax
93-94
Wystongjiir
95—96
Xephyrbahnor
97—98
Yarj
erit
99—00
Zzzxaaxthroth
DWARF,
FEMALE
d100
Name
01—02
Anbera
03—04
Artin
05—06
Audhild
07—08
Balifra
09—10
Barbena
11—12
Bardryn
13—14
Bolhild
15—16
Dagnal
17—18
Dafifi'
19—20
Delre
21—22
Diesa
23—24
Hdeth
25—26
Eridred
27—28
Falkrunn
29—30
Fallthra
31—32
Finelien
33—34
Gillydd
35—36
Gunnloda
37—33
Gurdis
39—40
Helgret
41—42
Helja
43—44
HHn
45—46
llde
47—43
Jarana
49—50
Kathra
51—52
Kilia
53—54
Kristryd
55—56
Liftrasa
57—58
Marastyr
59—60
Mardred
61—62
Morana
63—64
Nalaed
65—66
Nora
67—63
Nurkara
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l-‘J’E'
i113.-
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DWARF,
FEMALE
d100
Name
69—70
Orifi'
71—72
Ovina
73—74
Riswynn
75—76
Sannl
77—78
Therlin
79—80
Thodris
31—32
Torbera
33—84
Tordrid
35—36
Torgga
87—33
Urshar
89—90
Valida
91—92
Vistra
93—94
Vonana
95—96
Werydd
97—93
Whurd
red
99—00
Yurgunn
DWARF,
MALE
d100
Name
01—02
Adrik
03—04
Alberich
05—06
Baern
07—08
Barendd
09—10
Beloril
11—12
Brottor
13—14
Dain
15—16
Dalgal
17—18
Darrak
19—20
Delg
21—22
Duergath
23—24
Dworic
25—26
Eberk
27—28
Einkil
29—30
Elaim
31—32
Erias
33—34
Fallond
35—36
Fargrim
37—38
Gardain
39—40
Ccur
41—42
Gimgen
43—44
Gimurt
45—46
Harbek
47—43
Kildrak
49—50
Kilvar
51—52
Morgran
53—54
Morkral
55—55
Nalral
57—58
Nordak
59—60
Nuraval
61—62
Oloric
63—64
Olunt
DWARF,
MALE
d100
65—66
67—68
69—70
71—72
73—74
75—76
77—78
79—80
81—82
83—84
85—36
37—88
89—90
91—92
93—94
95—96
97—98
99—00
Name
(Drflk
CDSkar
Rangfin1
Rehak
Rufik
Taan
Thoradhw
Thofln
Thradal
TOrdek
TTaubon
TTavok
UHgar
Urahn
Vefi
Vonbm
Vondd
Vtrbin
DWARF,
CLAN
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
Name
Aranore
Balderk
Battlehammer
Bigtoe
Bloodkith
Bofdarm
Brawnanvil
Brazzik
Broodfist
Burrowfound
Caebrek
Daerdahk
Dankil
Daraln
Deepdelver
Durthane
Eversharp
FaHack
Fire-forge
Foamtankard
Frostbeard
Glanhig
Goblinbane
Goldfinder
Gorunn
Graybeard
Hammerstone
Helcral
Holderhek
Ironfist
DWARF,
CLAN
(1100
Name
61—62
Loderr
53—54
Lutgehr
65—66
Morigak
67—63
Orcfoe
69—70
Rakankrak
71—72
Ruby-Eye
73—74
Rumnaheim
75—76
Silveraxe
77—78
Silverstone
79—80
Steelfist
81—32
Stoutale
33—34
Strakeln
35—36
Strongheart
37—38
Thrahak
89—90
Torevir
91—92
Torunn
93—94
Trollbleeder
95—96
Trueanvil
97-98
Trueblood
99—00
Ungart
ELF,
CHILD
d100
Name
01—02
Ael
03—04
Ang
05—06
Ara
07—03
Ari
09—10
Arn
11—12
Aym
13-14
Broe
15—16
Bryn
17—18
Cael
19—20
Cy
21—22
Dae
23—24
Del
25—26
Eli
27—28
Eryn
29—30
Faen
31—32
Fera
33—34
Gael
35—36
Gar
37—38
Innil
39—40
Jar
41—42
Kan
43—44
Koeth
45—46
Laef
47—48
Lue
49—50
Mai
51—52
Mara
53—54
Mella
55—56
Mya
ELF,
CHILD
d100
Nanm
57—58
Naefis
59—60
NaHl
61—62
Nhfi
63—64
Phann
65—66
Py
67—68
Rad
69—70
Raer
71—72
Ren
73—74
Rhfin
75—76
Rua
77—78
Sael
79—80
Sai
81—82
Sunfi
83—84
Sflhn
85—86
Th
87—88
'Thm
89—90
'Ha
91—92
TTaH
93—94
Va”
95—96
Von
97—98
9V”
99—00
23
ELF,
FEMALE
ADULT
d100
Name
01—02
Adria
03-04
Ahinar
05—06
Althaea
07—08
Anastrianna
09-10
Andraste
11—12
Antinua
13—14
Arara
15—16
Baelitae
17—18
Bethrynna
19—20
Birel
ELF,
FEMALE
ADULT
d100
Name
21—22
Caelynn
23—24
Chaedi
25—26
Claira
27—28
Dara
29—30
Drusilia
31—32
Elama
33—34
Enna
35—36
Faral
37—38
Felosial
39—40
Hatae
41—42
lelenia
43—44
Ilanis
45—46
Irann
47-48
Jarsali
49—50
Jelenneth
51—52
Keyleth
53—54
Leshanna
55—56
Lia
57—58
Maiathah
59—60
Malquis
61—62
Meriele
63—64
Mialee
65—66
Myathethil
67-68
Naivara
69—70
Que|enna
71—72
Quillathe
73—74
Ridaro
75—76
Sariel
77—78
Shanairla
79—80
Shava
81—82
Silaqui
83—84
Sumnes
85—86
Theirastra
87—88
Thiala
89—90
Tiaathque
91—92
Traulam
ELF,
FEMALE
ADULT
d100
Name
93—94
Vadania
95—96
Valanthe
97—98
Valna
99—00
Xanaphia
ELF,
MALE
ADULT
d100
Name
01—02
Adran
03—04
Aelar
05—06
Aerdeth
07—08
Ahvain
09—10
Aramil
11—12
Arannis
13-14
Aust
15—16
Azaki
17—18
Beiro
19—20
Berrian
21—22
Caeldrim
23—24
Carric
25—26
Dayereth
27—28
Dreali
29—30
Efieril
31—32
Eiravel
33—34
Enialis
35—36
Erdan
37—38
Erevan
39—40
Fivin
41—42
Galinndan
43—44
Gennal
45—46
Hadarai
47—48
Halimath
49—50
Heian
51—52
Himo
53—54
lmmeral
55—56
IvelliDs
ELF,
MALE
ADULT
d100
Name
57—58
Korfel
59—60
Lamlis
61—62
Laucian
63—64
Lucan
65—66
Mindartis
67—68
Naal
69—70
Nutae
71—72
Paelias
73—74
Peren
75—76
Quarion
77—78
Riardon
79—80
Roler’l
81—82
Soveliss
83—84
Suhnae
85—86
Thamior
87-88
Tharivol
89—90
Theren
91—92
Theriatis
93—94
Thervan
95—96
Uthemar
97—98
Vanuath
99—00
Varis
ELF,
FAMILY
d100
Name
01—02
Aloro
03—04
Amakiir
05—06
Amastacia
07—08
Ariessus
09—10
Arnuanna
11—12
Berevan
13—14
Caerdonel
15—16
Caphaxath
17—18
Casilltenirra
19—20
Cithreth
.‘Ll’l‘l’
"xi
D]
X
L35
ELF,
FAMILY
d100
Name
21—22
Dalanthan
23—24
Eathalena
25—26
Erenaeth
27—28
Ethanasath
29—30
Fasharash
31—32
Firahel
33—34
Floshern
35—36
Galanodel
37—38
Goltorah
39—40
Hanali
41—42
Holimion
43—44
H
orineth
45—46
Iathrana
47—48
temnr
49—50
lranapha
51—52
Koehlanna
53—54
Lathalas
55—56
Liadon
57—58
Meliamne
59—60
Mellerelel
61—62
Mystralath
63—64
Naflo
65—66
N
etyoive
67—68
Ofandrus
69—70
Ostoroth
71—72
Othronus
73—74
Qualanthri
75—76
Raethran
77—78
Rothenel
79—80
Selevarun
81—82
Siannodel
83—84
Suithrasas
85—86
Sylvara
nth
87—88
Teinithra
89—90
Tiltathana
91—92
Wasanthi
93—94
Withrethin
95—96
Xiloscient
97—98
Xistsrith
99—00
Yaeldrin
l.
I
l
1
=11
ll_\{_.'l
"
":
GNOME,
FEMALE
d100
Name
01—02
Abalaba
03—04
Bimpnottin
05—06
Breena
07—08
Buvvie
09—10
Callybon
11—12
Caramip
13—14
Carlin
15—16
Cumpen
17—18
Dalaba
19—20
Donella
21—22
Duvamil
23—24
Ella
25—26
Ellyjoybell
27—28
Ellywick
29—30
Enidda
31—32
Lilli
33—34
Loopmottin
35—36
Lorilla
37—38
Luthra
39—40
Mardnab
41—42
Meena
43—44
Menny
45—45
Mumpena
47—48
Nissa
49—50
Numba
51—52
Nyx
53—54
Oda
55—56
Oppah
57—58
Orla
59—60
Panana
61—62
Pynfle
63—64
Quilla
65—66
Ranala
67—68
Reddlepop
69—70
Roywyn
71—72
Salanop
73—74
Shamil
75—76
Sifiress
77—78
Symma
79—80
Tana
81—82
Tenena
83—84
Tervaround
85—86
Tippletoe
87—88
UHa
89—90
Unvera
91-432
Veloptima
93—94
Virra
95—96
Waywocket
97—98
Yebe
99—00
Zanna
GNOME,
MALE
d1oo
01—02
03—04
05—06
07—03
09—10
11—12
13—14
15—16
17—13
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—43
49—50
51—52
53—54
55—56
57—53
59—60
61—62
63—64
65—66
67—68
69—70
71-72
73—74
75—76
77—78
79—30
81—82
83—84
85—86
37—33
39—90
91—92
93—94
95—96
97—98
99—00
Name
Alston
Alvyn
Anverth
Arumawann
Bilbron
Boddynock
Brocc
Burgell
Cockaby
Crampernap
Dabbledob
Delebean
Dimble
Eberdeb
Eldon
Erky
Fablen
Fibblestib
Fonkin
Frouse
Frug
Gerbo
Gimble
Glim
lgden
Jabble
Jebeddo
Kellen
Kipper
Namfoodle
Oppleby
Orryn
Paggen
PaHabar
Pog
Qualen
Ribbles
Rimple
Roondar
Sappw
Seebo
Senteq
Sindri
Umpen
Warryn
Wiggens
Wobbles
Wrenn
Zaffrab
Zook
GNOME,
CLAN
(1100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
Albaratie
BaFFl
estone
Beren
Boondiggles
Cobblelob
Daergel
Dunben
Fabblestabble
Fa
pplestamp
Fiddlefen
Folkor
Garrick
Gimlen
Glittergern
Gobblefirn
Gummen
Horcusporcus
Humplebumple
Ironhide
LeFFery
Lingenhall
Loofollue
M
aekkelferce
Miggledy
Munggen
Murnig
Musgraben
Nackle
Ningel
Nopenstallen
Nucklestamp
OFFund
Oomtrowl
Pilwicken
Pingun
Quillsharpener
Raulnor
Reese
Rofierton
Scheppen
Shadowcloak
Silverth
read
Sympony
Tarkelby
Timbers
Tu
ren
Umbodoben
Waggletop
Welber
Wildwander
—_—.__————'-——
HALFLING,
FEMALE
HALFLING,
MALE
HALFLING,
FAMILY
HALF-ORG,
FEMALE
(31100
Name
d100
Name
(“00
Name
d100
Name
01—02
Alain
01—02
Alton
01—02
Appleblossom
01—02
Arha
03—04
Andry
03-04
Ander
03—04
Bigheart
03—04
Baggi
05—06
Anne
05-06
Bernie
05—06
Brightmoon
05—06
Bendoo
07—08
Bella
07—08
Bobbin
07—08
Brushgather
07—08
Bilga
I
09—1
0
Blossom
09—10
Cade
09—10
Cherrycheeks
09—10
Brakka
‘._
11—12
Bree
11—12
Callus
11—12
Copperkettle
11—12
Creega
13—14
Callie
13—14
Corrin
13-14
Deephollow
13—14
Drenna
15—16
Chenna
15—16
Dannad
15—16
Elderberry
15—16
Ekk
17—18
Cora
17—18
Danniel
17—18
Fastfoot
17—18
Emen
19—20
Dee
19—20
Eddie
19—20
Fatrabbit
19—20
Engong
21—22
Dell
21—22
Egart
21—22
Glenfellow
21—22
Fistula
23—24
Eida
23—24
Eldon
23—24
Coldfound
23—24
Caaki
25—26
Eran
25—26
Errich
25—26
Goodbarrel
25—26
Corga
27—28
Euphemia
27—28
Fildo
27—28
Goodearth
27—28
Grai
29—30
Georgina
29—30
Finnan
29—30
Greenbottle
29—30
Greeba
31—32
Gynnie
31—32
Franklin
31—32
Greenleaf
31—32
Grigi
33—34
Harriet
33—34
Garret
33—34
High-hill
33—34
Cynk
35—36
Jasmine
35—36
Garth
35—36
Hilltopple
35—36
Hrathy
37—38
jillian
37—38
Gilbert
37—38
Hogcollar
37—38
Huru
39—40
)0
39—40
Gob
39—40
Honeypot
39—40
Ilga
41—42
Kithri
41—42
Harol
41-42
Jamjar
41—42
Kabbarg
43—44
Lavinia
43—44
lgor
43—44
Kettlewhistle
43—44
Kansif
45—46
Lidda
45-46
Jasper
45—46
Leagallow
45—46
Lagazi
47—48
Maegan
47—48
Keith
47—48
Littlefoot
47—48
Lezre
49—50
Marigold
49—50
Kevin
49-50
Nimble-fingers
49—50
Morgen
51—52
Merla
51—52
Lazam
51-52
Porridgepot
51—52
Murook
53—54
Myria
53—54
Lerry
53—54
Quickstep
53-54
Myev
55—56
Nedda
55—56
Lindal
55—56
Reedfellow
55—56
Nagrette
57—58
Nikki
57—58
Lyle
57—58
Shadowquick
57—58
Neega
59—60
Nora
59—60
Merrie
59—60
Silvereyes
59—60
Nella
61—62
Olivia
61—62
Mican
61-62
Smoothhands
61—62
Nogu
63—54
Paela
63—64
Milo
63—64
Stonebridge
63—64
Oolah
65—66
Pearl
65—66
Morrin
65—66
Stoutbridge
65—66
Ootah
67—68
Pennie
67—68
Nebin
67—68
Stoutman
67—68
Ovak
69—70
Philomena
69—70
Nevil
69—70
Strongbones
69—70
Ownka
71—72
Portia
71—72
Osborn
71—72
Sunmeadow
71—72
Puyet
73—74
Robbie
73—74
Ostran
73—74
Swiftwhistle
73—74
Reeza
75—76
Rose
75—76
Oswalt
75—76
Tallfellow
75—76
Shautha
77—78
Sara]
77—78
Perrin
77—78
Tealeaf
77—78
Silgre
79—30
Seraphina
79-30
Poppy
79—80
Tenpenny
79—30
Sutha
81—82
Sheena
81-82
Reed
81—82
Thistletop
81—82
Tagga
33—84
Stacee
83—84
Roscoe
83—84
Thorngage
83—84
Tawar
85—86
Tawna
85—86
Sam
85—86
Tosscobble
85—86
Tomph
87—88
Thea
87—88
Shardon
87—88
Underbough
87—88
Ubada
89—90
Trym
89—90
Tye
89—90
Underfoot
39—90
Vanchu
91—92
Tyna
91—92
Ulmo
91—92
Warmwater
91—92
Vola
93—94
Vani
93—94
Wellby
93—94
Whispermouse
93—94
Volen
95—96
Verna
95—96
Wendel
95—96
Wildcloak
95-96
Vorka
97—93
Wella
97—98
Wenner
97—98
Wildheart
97—98
Yevelda
99—00
Willow
99—00
Wes
99—00
Wiseacre
99—00
Zagga
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all
HALF-ORE,
MALE
d100
01-02
03-04
05-06
07-03
09-10
11-12
13-14
15-16
17-13
19-20
21-22
23-24
25-26
27-23
29—30
31-32
33—34
35—36
37-33
39-40
41-42
43-44
45-46
47-43
49-50
51-52
53-54
55-56
57-53
59-60
61-62
63-64
65-66
67-63
69-70
71-72
73-74
75-76
77-73
79-30
31-32
33—34
35-36
37-33
39-90
91-92
93-94
95-96
97-93
99-00
31.1”.‘13
.‘73
[J]
K
1.5
1
1‘15.-1.1-1.-\1'
"Hail.
TH
Name
Argran
Braak
Brug
Cagak
Dench
Dorn
Dren
Druuk
Feng
Ge”
Gnarsh
Grurnbar
Gubrash
Hagren
Henk
Hogar
ldcflg
Infish
Karash
Karg
Keth
Korag
Krusk
Lubash
Megged
Mhurren
hflord
Morg
NH
Nybarg
Odorr
C)hr
Rendar
Resh
Ront
Rrath
Sark
Scrag
Sheggen
Shunuj
Tanghr
Tarak
Thar
Thokk
TTag
Ugarth
varg
VHberg
Yurk
Zed
TIEFLING,
FEMALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31-32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
5.1
'L.
1*-
Name
Akta
AnaMs
Armara
Astaro
Ayn1
Azza
Beleth
Bryseis
Bune
CfieHa
Damam
Decarabia
Ea
Gadreel
Gomow
Hecat
Ishte
Jezebeth
KaH
I<a|Hsta
Kasdeya
Lenssa
LHhh
Makaria
Manea
Markosian
Mafiema
Namnah
Nemem
Nfia
Orianna
Osah
Phehna
Prospenne
Purah
Pyra
Rkfia
Ronobe
Ronwe
Seddn
Seere
Sekhrnet
Senwaza
Shava
Shax
Sorath
Uzza
Vapum
Vepar
Venn
TIEFLING,
MALE
d100
01—02
03—04
05-06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
Abad
Ahrun
Akwmn
Anmon
Andran1
Astar
Bman1
Barakas
Bathin
Cann
Chen1
Chner
Cressel
Danmkos
Ekmnon
Euron
Fennz
Forcas
Habor
Iados
Kauon
Leucs
Manmen
Mantus
hAarbas
Melech
hAenhhn
Modean
Modm
MOHho
Morthos
tor
Nhgel
(Dnax
Pawnon
Pehflos
Purson
Qemud
Raan1
mmnmn
Smnmm
Skmhos
TEthren
Thmhuz
Therai
Valafar
Vassago
Xappan
Zepar
Zephan
TIEFLING,
VIRTUE
d100
01-02
03-04
05-06
07-03
09-10
11-12
13-14
15-16
17-13
19-20
21-22
23-24
25-26
27-23
29-30
31-32
33-34
35—36
37-33
39-40
41-42
43-44
45-46
47-43
49-50
51-52
53-54
55-56
57-53
59-60
61—62
63-64
65-66
67-63
69-70
71-72
73-74
75-76
77-73
79—30
31-32
33-34
35-36
37-33
39-90
91-92
93-94
95-96
97—93
99-00
Name
AmbMon
Art
Carflon
Chant
Creed
Death
Debauchery
Despan
Doom
Doubt
Dread
Ecstasy
Ennui
Entropy
ExceHence
Fear
CHory
Gluttony
Gnef
Hate
Hope
tiorror
Idea
lgnonfiny
Laughter
Love
Lust
Mayhem
Mockery
Murder
Muse
hfluflc
hAystery
Nowhere
Open
Pmn
Passion
Poetry
Quest
Randon1
Reverence
Revulsion
Sonow
Tenflerny
Tonnent
TTagedy
Vkr
Virtue
VUeary
VUH
HUMAN
NAMES
ARABIC,
FEMALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
AaHyah
Ahja
AkHah
Aha
Anflna
Atefeh
Chahha
DaHa
Ehsan
Hhana
Farah
Fatenwah
GannHa
lesha
inbar
Kannana
KhadUa
Layb
Lupe
NabHa
Nadine
Nahna
Nafim
NahNa
Nakm
Nashwa
Nawra
Nuha
Nura
Chha
Qadira
Qamar
(Nsfina
Rahhna
Rihanna
Saadm
Sabah
Sada
Safl1on
Sahar
Sahna
Shatha
Tahna
TaMsha
Thana
Yadira
Zahra
Zakfia
Zahm
Zehiab
ARABIC,
MALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29-30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
Abbad
Abdul
Achwmd
Akeen1
AHF
Anfir
Ashn
Bash“
Bassan1
Fahhn
Fafld
Farouk
Fayez
Fayyaad
FazH
Hakhn
HaHI
Hanfid
Hazhn
Heydar
Hussein
Jabafi
Jafin
Jahid
Jan1al
Kafin1
Karhn
Kazhn
Khadhn
KhaHd
Mamnud
Mansour
Musharraf
hflustafa
Nadh'
Naznn
Onmr
(Qadir
Qusay
Rafiq
Rakhn
Rashad
Rauf
Sdadhfi
Sanfl
Sanfir
TaHb
Tanflr
Tafiq
Yazki
CELTIC,
FEMALE
d100
Nanm
01—02
Aife
03—04
Aina
05—06
Alane
07—08
Ardena
09—10
Afienh
11—12
Beatha
13—14
Bkgh
15—16
Bfiann
17—18
Caornh
19—20
Cara
21—22
Ckwfla
23—24
CordeHa
25—26
Deheune
27—28
Divone
29—30
Donia
31—32
Doreena
33—34
Ebha
35—36
Enid
37—38
Ethne
39—40
EveHna
41—42
Hanna
43—44
Genevmve
45—46
GHda
47—48
Citta
49—50
Granm
51—52
mndofin
53—54
ldeHsa
55—56
Isolde
57—58
KeeHn
59—60
Kennocha
61-62
Lavena
63—64
Ledey
65—66
Unnefle
67—68
Lyonesse
69—70
Mabina
71—72
Marvina
73—74
Mavis
75—76
Mirna
77—78
Morgan
79—80
Muriel
81—82
Nareena
83—84
Oriana
85—86
Regan
87—88
Ronat
89—90
Rowena
91—92
Sehna
93—94
LHa
95—96
Venefia
97-98
VUynne
99—00
Yseuh
CELTIC,
MALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
AneH
Ahfic
Adan
Anghus
Aodh
Bardon
Bearacb
Bevyn
Boden
Bran
Bras”
Bredon
Bflan
Bncflu
Bryant
Cadnmn
Caradoc
Cedflc
Conah
Conchobar
Condon
Darcy
DeWn
DHHon
Donaghy
Dona”
Duer
Eghan
Ewyn
Ferghus
Galvyn
GHdas
Guy
Fiarvey
Iden
Irven
Karney
Kayne
Kelvyn
Kunsgnos
nh
Maccus
Moryn
Neak
Owyn
Pryderi
Reaghan
TaHefln
T1ernay
Tun
CHINESE,
FEMALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47-48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65-66
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
Name
Ai
Annflng
Baozhai
Bm
mm
Changchang
Chen
Chou
Chunhua
Dawnna
DaWu
[um
Ehuang
Fenhng
Ge
Hong
Huan
Hmfing
Ha
hao
Haflng
Hngfifi
Hnfing
Lan
U
Uhua
Un
Ung
Uu
hflem
hhng
(m
(QMO
Rong
Shu
Shuang
Song
'Hng
VVen
XE
Xiaodan
xmon
Xingjuan
Xue
Ya
Yan
Ya
Yuan
Yue
CHINESE,
MALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
Mngwen
Bo
BoHn
Chang
Chao
Chen
r
Cheng
1
Da
*
Dingxiang
Fang
Feng
Fu
Gang
Guang
Hai
Heng
Hong
Huan
Huang
HuHMng
tzhong
Nan
flaw
Junfie
Kang
La
Hang
Ung
Lhud
hfleMH
NHJ
shi
Peng
a
(yang
(Nu
Quan
Renshu
Rong
Ru
Shan
Shen
Téngfifl
VVei
XMobo
xmoh
XHI
Yang
Wing
Zhong
EGYPTIAN,
FEMALE
d100
Name
01—02
A’at
03—04
Ahset
05—06
Amunet
07—08
Aneksi
09—10
Atet
11—12
Baketamon
13—14
Betrest
15—16
Buns-fer
17—18
Dedyet
19—20
Hatshepsut
21—22
Hentie
23—24
Herit
25—26
Hetepheres
27—28
Intakaes
29—30
Ipwet
31—32
Itet
33—34
Joba
35—36
Kasmut
37—38
Kemanub
39—40
Khemut
41
—42
Kiya
43—44
Maia
45—46
Menhet
47—48
Merit
49—50
Meritamen
51—52
Merneith
53—54
Merseger
55—56
Muyet
57—58
Nebet
59—60
Nebetah
61—62
Nedjemmut
63—64
Nefertiti
65—66
Neferu
67—68
Neithotep
EGYPTIAN,
FEMALE
d100
Name
69—70
Nit
71—72
Nofret
73—74
Nubemiunu
75—76
Peseshet
77—78
Pypuy
79—80
Qalhata
81—82
Rai
83—84
Redfl
85—86
Sadeh
87—88
Sadek
89—90
Sitamun
91—92
Sitre
93—94
Takhat
95—96
Tarset
97—98
Taweret
99—00
Werenro
EGYPTIAN,
MALE
d100
Name
01—02
Ahmose
03—04
Akhom
05—06
Amasis
07—08
Amenemhet
09—10
Anen
11—12
Banefre
13—14
Bek
15—1
6
Djedefre
17—18
Djoser
19—20
Hekaib
21—22
Henenu
23—24
Horemheb
25—26
Horwedja
27—28
Huya
29—30
lbebi
31-32
Idu
EGYPTIAN,
MALE
d100
Name
33—34
lmhotep
35—36
Ineni
37—38
lpuki
39—40
lrsu
41—42
Kagemni
43—44
Kawab
45—46
Kenamon
47—48
Kewap
49—50
Khaemwaset
51—52
Khafra
53—54
Khusebek
55—56
Masaharta
57—58
Meketre
59—60
Menkhaf
61—62
Merenre
63—64
Metjen
65-66
Nebamun
67—68
Nebetka
69—70
Nehi
71—72
Nekure
73—74
Nessumontu
75—76
Pakhom
77—73
Pawah
79—80
Pawero
81—82
Ramose
83—84
Rudjek
85—86
Saba?
87—88
Sebek-khu
89—90
Sebni
91—92
Senusret
93—94
Shabaka
95—96
Somintu
97—98
Thaneni
99—00
Thethi
.I:_. _
I;
'15-?"-
.-
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w:
Hitler,"
paw.
ENGLISH,
FEMALE
d'IOO
Name
01—02
Adelaide
03—04
Agatha
05—06
Agnes
07—08
Alice
09—10
Aline
11—12
Anne
13—14
Avelina
15—16
Avice
17—18
Beatrice
19—20
Cecily
21—22
Egelina
23—24
Eleanor
25—26
Elizabeth
27—28
EHa
29—30
Eloise
31—32
Elysande
33—34
Emeny
35—36
Emma
37—38
Emmeline
39—40
Ermina
41-42
Eva
43—44
Galiena
45—46
Geva
47—48
Giselle
49—50
Griselda
51—52
Hadwisa
53—54
Helen
55—56
Herleva
57—58
Hugolina
59—60
Ida
61—62
Isabella
63—64
Jacoba
65—66
lane
67—68
Joan
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ENGLISH,
FEMALE
d'IOO
Name
69—70
)uliana
71—72
Katherine
73—74
Margery
75—76
Mary
77—78
Matilda
79—80
Maynild
81—82
Millicent
83—84
Oriel
85—86
Rohesia
87—88
Rosalind
89—90
Rosamund
91—92
Sarah
93—94
Susannah
95—96
Sybil
97—98
Williamina
99—00
Yvonne
ENGLISH,
MALE
d‘lOO
Name
01—02
Adan]
03—04
Adelard
05—06
Aldous
07—08
Anselm
09—10
Arnold
11—12
Bernard
13—14
Bertram
15—16
Charles
17—18
Clerebold
19—20
Conrad
21—22
Diggory
23—24
Drogo
25—26
Everard
27—28
Frederick
29—30
Geoffrey
31—32
Gerald
d100
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
Gilbert
Godfrey
Gunter
ENGLISH,
MALE
|
|
Guy
Henry
Heward
Hubert
Hugh
jocelyn
John
Lance
Manfred
Miles
Nicholas
Norman
Odo
Percival
Peter
Ralf
Randal
Raymond
Reynard
Richard
Robert
Roger
Roland
Rolf
Simon
Theobald
Theodonc
Thomas
Timm
William
Wymar
FRENCH,
FEMALE
c1100
Name
01—02
Aalis
03—04
Agatha
05—06
Agnez
07—08
Alberea
09—10
Alips
11—12
Amée
13—14
Ame-lot
15—16
Anne
17—18
Avelina
19—20
Blanche
21—22
Cateline
23—24
Cecilia
25—26
Claricia
27—28
Collette
29—30
Denisete
31—32
Dorian
33—34
Edehna
35—36
Emelina
37—38
Emmelot
39—40
Ermentrudis
41—42
Gibelina
43—44
Gila
45—46
Gillette
47—48
Guiburgis
49—50
Guillemette
51—52
Guoite
53—54
Hecelina
55—56
Heloysis
57—58
Helyoudis
59—60
Hodeardis
61—62
lsabellis
63—64
Jaquette
65—66
Jehan
67—68
Johanna
69—70
Juliote
71—72
Katerine
73—74
Luciana
75—76
Margot
77—78
Marguerite
79—80
Maria
81—82
Marie
83—84
Melisende
85—86
Odelina
87—88
Perrette
89—90
Petronilla
91—92
Sedilia
93—94
Stephana
95—96
Sybilla
97—98
Ysabeau
99—00
Ysabel
FRENCH,
MALE
d100
Name
01—02
Ambroys
03—04
Arne
05—06
Andri
07—08
Andriet
09—10
Anthoine
11—12
Bernard
13—14
Charles
15—16
Charlot
17—18
Colin
19—20
Denis
21—22
Durant
23—24
Edouart
25—26
Eremon
27—28
Ernault
29—30
Ethor
31—32
Felix
33—34
Floquart
35—36
Galleren
37—38
Gaultier
39—40
Gilles
41—42
Guy
43—44
Henry
45—46
Hugo
47—48
lmbert
49—50
Jacques
51—52
Jacquot
53—54
Jean
55—56
Jehannin
57—58
Louis
59—60
Louys
61—62
Loys
63—64
Martin
65—66
Michel
67—68
Mille
69—70
Morelet
71-72
Nicolas
73—74
Nicolle
75—76
Oudart
77-78
Perrin
79—80
PhHpe
81—82
Pierre
83—84
Regnauh
85—86
Richart
87—88
Robert
89—90
Robinet
91—92
Sauvage
93—94
Simon
95—96
Talbot
97—93
Tanguy
99—00
Vincent
GERMAN,
FEMALE
d100
Name
01—02
Adelhayt
03—04
AFFra
05—06
Agatha
07—08
Allet
09—10
Angnes
11—12
Anna
13—14
Apell
15—16
Applonia
17—18
Barbara
19—20
Brida
21—22
Brigita
23—24
Cecilia
25—26
Clara
27—28
Cristina
29—30
Dorothea
31—32
Duretta
33—34
Ella
35—36
ElS
37—38
Elsbeth
39—40
Engel
41—42
Enlein
43—44
EnndHn
45—46
Eva
47—48
Fela
49—50
Fronicka
51—52
Genefe
53—54
Geras
55—56
Cerhauss
57—58
Gertrudt
59—60
Guttel
61—62
Helena
63—64
lrmel
65—66
Jonata
67—68
Katerina
69—70
Kuen
71—72
Kungund
73—74
Lucia
75—76
Madalena
77—78
Magdalen
79—80
Margret
81—82
Marlein
83—84
Martha
85—86
Otilia
87—88
Ottilg
39—90
Peternella
91—92
Reusin
93—94
Sibilla
95—96
Ursel
97—98
Vrsula
99—00
Walpurg
GERMAN,
MALE
d100
Name
01—02
Albrecht
03—04
Allexander
05—06
Baltasar
07—08
Benedick
09—10
Berhart
11—12
Caspar
13—14
Clas
15—16
Cristin
17—18
Cristofi-
19—20
Dieterich
21—22
Engelhart
23—24
Erhart
25—26
Felix
27—28
Frantz
29—30
Fritz
31—32
Gerhart
33—34
Gotleib
35—36
Hans
37—38
Hartmann
39—40
Heintz
41—42
Herman
43—44
Jacob
45—46
Jeremias
47-48
Jorg
49—50
Kafll
51—52
Kilian
53—54
Linhart
55—56
Lorentz
57—58
Ludwig
59—60
Marx
61—62
Melchor
63—64
Mertin
65—66
Michel
67—68
Moritz
69—70
Osswald
71—72
Ott
73—74
Peter
75—76
Rudolicf
77—78
Ruprecht
79—80
Sewastian
81—82
Sigmund
83—84
Steftan
85—86
Symon
87—88
Thoman
89—90
Ulrich
91—92
Vallentin
93—94
Wendel
95—96
Wilhelm
97—98
WolFF
99—00
Wolfgang
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GREEK,
FEMALE
d100
Name
01—02
Acantha
03—04
Aella
05—06
Alektos
07—08
Alkippe
09—10
Andromeda
11—12
Antigone
13—14
Ariadne
15—16
Astraea
17—18
Chloros
19—20
Chryseos
21—22
Daphne
23—24
Despoina
25—26
Dione
27—23
Eileithyia
29—30
Elektra
31-32
Euadne
33—34
Eudora
35—36
Eunornia
37—38
Hekabe
39—40
Helene
41—42
Hermoione
43—44
Hippolyte
45—46
lanthe
47—48
lokaste
49—50
Iole
51—52
Iphigenia
53—54
Ismene
55—56
Kalliope
57—58
Kallisto
59—60
Kalypso
61-62
Karme
63-64
Kassandra
65—66
Kassiopeia
67—68
Kirke
69-70
Kleio
71—72
Klotho
73-74
Klytie
75-76
Kynthia
77—78
Leto
79—80
Megaera
81—82
Melaina
83—84
Melpomene
85—86
Nausikaa
87—88
Nemesis
89—90
Niobe
91—92
Ourania
93—94
Phaenna
95—96
Polymnia
97—98
Semele
99—00
Theia
CREEK,
MALE
c1100
Name
01—02
Adonis
03—04
Adrastos
05—06
Aeson
07—08
Alas
09—10
Aineias
11—12
Aiolos
13—14
Alekto
15-16
Alkeides
17—18
Argos
19—20
Brontes
21—22
Damazo
23-24
Dardanos
25—26
Deimos
27—28
Diomedes
29—30
Endymion
31—32
Epimetheus
33—34
Erebos
35—36
Euandros
37—38
Canymedes
39—40
Glaukos
41—42
Hektor
43—44
Heros
45—46
Hippolytos
47—48
Iacchus
49—50
Iason
51—52
Kadmos
53—54
Kastor
55—56
Kephalos
57—58
Kepheus
59—60
Koios
61—62
Kreios
63—64
Laios
65-66
Leandros
67—68
Linos
69-70
Lykos
71-72
Melanthios
73-74
Menelaus
75—76
Mentor
77—78
Neoptolemus
79—80
Okeanos
81—82
Orestes
83—84
Pallas
85—86
Patroklos
87—88
Philandros
89—90
Phoibos
91—92
Phrixus
93—94
Priamos
95—96
Pyrrhos
97—98
Xanthos
99—00
Zephyros
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INDIAN,
FEMALE
d100
Name
01—02
Abha
03—04
Aishwarya
05—06
Amala
07—08
Ananda
09—10
Ankita
11—12
Archana
13—14
Avani
15—16
Chandana
17-18
Chandrakanta
19—20
Chetan
21-22
Darshana
23—24
Devi
25—26
Dipti
27—28
Esha
29—30
Gauro
31—32
Gita
33—34
Indira
35—36
Indu
37—38
Jaya
39—40
Kala
41—42
Kalpana
43-44
Kamala
45—46
Kanta
47—48
Kashi
49—50
Kishori
51—52
Lalita
53—54
Lina
55—56
Madhur
57—58
Manju
59—60
Meera
61—62
Mohana
63—64
Mukta
65-66
Nisha
67—68
Nitya
69—70
Padma
71-72
Pratima
73—74
Priya
75—76
Rani
77—78
Sarala
79—80
Shakti
81—82
Shanta
83—84
Shobha
85—86
Sima
87—88
Sonal
89—90
Sumana
91—92
Sunita
93—94
Tara
95—96
Valli
97—98
Vijaya
99—00
Virnala
INDIAN,
MALE
d100
Name
01—02
Abhay
03—04
Ahsan
05—06
Ajay
07—08
Ajit
09—10
Akhil
11—12
Amar
13—14
Amit
15—16
Ananta
17—18
Aseem
19—20
Ashok
21—22
Bahadur
23—24
Basu
25—26
Chand
27—28
Chandra
29—30
Damodar
31—32
Darhsan
33—34
Devdan
35—36
Dinesh
37—38
Dipak
39—40
Gopal
41—42
Govind
43—44
Harendra
45—46
Harsha
47—48
Ila
49—50
lsha
51—52
Johar
53—54
Kalyan
55—56
Kiran
57—58
Kumar
59—60
Lakshmana
61—62
Mahavir
63—64
Narayan
65—66
Naveen
67—68
Nirav
69-70
Prabhakar
71—72
Prasanna
73-74
Raghu
75—76
Rajanikant
77-78
Rakesh
79—80
Ranjeet
81—82
Rishi
83—84
Sanjay
85—86
Sekar
87—88
Shandar
.
89—90
Sumantra
l
91—92
Vijay
II
93—94
Vikram
I
95—96
Vimal
97—98
Vishal
99—00
Yash
jAPANESE,
FEMALE
(1100
01—02
03—04
05—06
07—03
09—10
11—12
13—44
15—16
17—18
19—20
21—22
23—24
25—26
2?—28
29—30
31—32
33—34
35—36
3?—38
39—40
41—42
43—44
45—46
4?—43
49—50
51—52
53—54
55—56
5?—58
59—60
61—62
63—64
65—66
67—63
69—70
?1—?2
73—?4
75—76
?7—78
79—80
81—32
83—84
85—86
37—83
39—90
91—92
93—94
95—96
9?—93
99—00
Name
Aika
Akemi
Akiko
Amaya
Asami
Ayumi
Bunko
Chieko
Chika
Chiyo
Cho
Eiko
Emiko
Eri
Etsuko
Gina
Hana
Haruki
Hideko
Ffikafi
Hiroko
Hisoka
Hishi
Hotaru
Izumi
Kameyo
Kasumi
Ifinfiko
Kotone
Kyoko
Maiko
Masako
Mi
Minori
Mizuki
Naoki
Natsuko
Noriko
Rei
Ren
Saki
Shigeko
Shinju
Sumiko
Toshiko
Tsukiko
Ume
Usagi
Yasuko
Yuflko
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.-
JAPANESE,
MALE
d100
Nanm
014,2
Akio
JAPANESE,
MALE
03—04
Atsushi
d'IOO
Name
05—06
Daichi
53—54
Makoto
07—08
Daiki
55—56
Mamoru
09—10
Daisuke
57—58
Masato
11—12
Eiji
59—60
Masumi
13—14
Fumio
61—62
Noboru
15—16
HaWfie
63—64
Noflo
17—18
Haru
65-66
Osamu
19—20
Ffideah
67—68
Ryota
21—22
Ffideo
69—70
Sadao
23—24
Ffikaru
71—72
Satoshi
25—26
Him
73—74
Shigeo
27—28
Ffiroki
‘
75—76
Shin
29—30
Ffisao
77—78
Sora
31—32
Lfitoshi
79—80
Thdao
33—34
Isamu
81—82
Takehiko
35—36
Isao
83—84
Takeo
37—38
Jun
85—86
Takeshi
39—40
Katashi
87—88
Takunfi
41—42
Katsu
89—90
Tanmnsu
43—44
Kei
91—92
Tatsuo
45—46
Ken
93—94
Tbru
47—48
Kanshhw
95—96
Toshk)
49—50
Kenta
97—93
Yasuo
_
51—52
ffioshi
99—00
YuHo
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MESOAMERICAN,
FEMALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25-26
27-28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—66
67—68
Name
Ahumzfli
Atl
Centehua
Chakhhflfl
Chipahua
Cihuaton
Cub“
Cfikflnflna
Coszcafl
Cozamalotl
Cuicafl
Heum
Eloxochitl
Ezfli
Ichtaca
1cnoyofl
Ihuicafl
Hhufil
Hofia
lunl
Ixcatzin
Izd
Malinalxochitl
Mecatl
hflezt“
Nfiyaoaxochnl
Mizquixaual
Moyolehuani
Nahuafl
Necahum
Nenefl
Nochfli
ffloxochicozth
Ohtli
l'\
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MESOAMERICAN,
FEMALE
d100
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
Name
Papan
Pafli
Quetzalxochitl
Sacnfie
TEKui
Tephn
TEuicui
Teyacapan
Thco
'Hacoehua
11acofl
11am
11anexfli
XHfiuhl
Xtcoafl
Xiuhtonal
MESOAMERICAN,
MALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
Name
Achcauhfli
Amoxtli
Chicahua
ChknaHi
Cipacth
Coaxoch
Coyofl
Cuam
Cuauhtémoc
CueflachtHo
Cuetzpalli
Cukfli
Ehecafl
EtalpaIH
Huemac
Hufizmhuhl
MESOAMERICAN,
MALE
d100
33—34
35—36
37-33
39—40
41—42
43—44
45—46
47—43
49—50
51—52
53—54
55—56
57-58
59—60
61—62
63—64
65—66
67—68
69—70
71—72
73—74
75—76
77—78
79—30
31—32
33—34
85—86
37—33
39—90
91—92
93—94
95—96
97—93
99—00
Name
Iccauhfli
IHHcanfina
Hzfli
Ixfli
Mahuizoh
Manama
hflaflal
Maflahhum
Mazatl
Mictlantecuhtli
Nfihnfica
Momofl“
Nanmcmx
Necam
Necummefl
Nezahuakoyofl
Nexahumpflh
Nochehuafl
Nopaltzin
CNHn
Quauhtli
Tenoch
Téoflhuhl
Tepihzin
TEzcacoaH
Tlacaelel
Thcdel
11moc
‘Hanexfic
Tlazohtlaloni
Tlazopillo
lJetzcayofl
XHfiHi
Yaofl
NIGER—CONGO,
FEMALE
d‘IOO
Name
01—02
Abebi
03—04
Abena
05—06
Abhflbom
07—08
Akoko
09—10
Akachi
11—12
Alaba
13—14
Anu“
15—16
Aye
17—18
Bolanle
19—20
Bosede
21—22
Chiamaka
23—24
Chidi
25—26
Chidimma
27—28
Chinyere
29—30
Chioma
31—32
Dada
33—34
Ebele
35—36
Efemena
37—38
Efiro
39—40
Ekundayo
41—42
Enitan
43—44
Funanya
45—46
HUnanya
47—48
lge
49—50
hne
51—52
Kunto
53—54
Lesedi
55—56
Lunwug
57—58
Mojisola
59—60
Monifa
61—62
Nakato
63—64
Ndidi
65—66
Ngozi
67—68
Nkhuka
69—70
Nneka
71—72
Ogechi
73—74
Olamide
75—76
OIUCI’Ii
77—78
Omolara
79—80
Onyeka
81—82
Simisola
83—84
Tenfltope
85—86
Thewm
87—88
11flay0
89—90
Udo
91—92
Uduak
93—94
Ufuoma
95—96
Yaa
97—98
Yefide
99—00
YEwande
NIGER—CONGO,
MALE
d100
Nanm
01—02
Abe-be
03—04
Abel
05—06
Abidemi
07—08
Abrafo
09—10
Adisa
11—12
Amadi
13—14
Amara
15—16
Anyhn
17—18
Azubuike
19—20
Bapofla
21—22
Baraka
23—24
Bohlale
25—26
Bongani
27—28
BLUUHE
29—30
Buflba
31—32
Chakide
33—34
Chibuzo
35—36
Chma
37—38
Chhnob
39—40
Chhafidzo
41—42
Dabulamanzi
43—44
Dunflsa
45—46
Dwanh
47—48
Erneka
49—50
Fohnfi
51—52
Gatura
53—54
Gebhuza
55—56
Gero
57—58
lsoba
59—60
Kagbo
61—62
Kamau
63—64
Kaflego
65—66
Masego
67—68
Matata
69—70
Nthanda
71—72
Ogechi
73—74
Olwenyo
75—76
Osumare
77-78
Paw
79—80
Qinisela
81—82
Quanda
83—84
Smfianya
85—86
Shanma
87—88
SibonakaHso
89—90
Tapiwa
91—92
Thabo
93—94
'Thmfiba
95—96
Uzowm
97—98
Zubefl
99—00
Zufi
NORSE,
FEMALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
AHt
Arnbjorg
Ase
JAflog
[\strid
Auda
Audhm
Bergfiot
BtHd
Bod”
Brenna
Brynhfld
Dagwmr
Eeflka
EH3
Cudrun
Gunborg
Gunt
Gunvor
Fkflga
F1ertha
HHde
FHHeW
Ingfid
Iona
Jorunn
Kafi
Kenna
Magnhild
Nanna
Cflga
Ragna
Ragnhfld
Ranveig
Runa
Saga
Sfififid
ffigne
Sfigfid
Signunn
Soweg
Svant
Thora
Tbrborg
Tbrunn
Tove
Unn
Vfigdfi
fiqva
Yngvfld
NORSE,
MALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
g‘
3’1‘!",\.111."‘-L
V‘-
Name
Agni
[Hafic
Aadr
ArWd
Asger
Aswmnd
Bjarte
Bkflg
Bkwn
Brandr
Brandt
Brynjar
Cmder
Colborn
Cufler
EgH
Bnar
Eflc
Efland
ke
Folkvar
Fflfiof
Frode
Geh
Halvar
Hemnfing
Ffiahnar
11jortr
lnghnarr
Ivar
Knud
Lefi
Uufi‘
Manning
Oddr
()Hn
Onnr
()ve
Rannq
Sigurd
Skafi
Snorfl
Sten
Sfigandr
Sfigr
Sven
17ygve
U1F
Va“
Vfidar
.511
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POLYNESIAN,
FEMALE
d100
Naww
01—02
Ahulani
03—04
Airini
05—06
Alani
07—08
Aluala
09—10
Anahera
11—12
Anuhea
13—14
Aolani
15—16
Henoa
17—18
Emele
19—20
Fefia
21—22
Hva
23—24
1%mona
25—26
HFHei
27—28
Hina
29—30
Ffinatea
31—32
Hua“
33—34
Hua
35—36
Huna
37—38
Iolani
39—40
Isa
41—42
Kaanaana
43—44
Kabna
45—46
Kaanfia
47—48
Kahub
49—50
Kaflani
51—52
Kawmfle
53—54
Kamakani
55—56
Kmmea
57—58
Latai
59—60
Mona
61—62
Lokdani
63—64
Marva
65—66
hflehana
67—68
Millawa
69—70
Moana
71—72
Ngana
73—74
Nohea
75—76
Pea
77—78
Sanoe
79—80
Safina
81—82
Tahm
83—84
Tafl
85—86
'fiaho
87—88
'fihani
89—90
Tbroa
91—92
lani
93—94
Uluwehi
95—96
vmna
97—98
Waiola
99—00
VVaHara
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POLYNESIAN,
MALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65-66
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
“C
-‘;
H
[C
.‘3
Name
Afia
Ahohako
Aisake
lHeM
Anewa
Anhem
Apufi
Afiki
Butat
Ende
Fef
Fufiui
l4ahheo
Hanohano
Haunui
Hekfli
Ffiapo
Hikawera
Hanano
Ho’onani
Hoku
t30ku
Ina
Hu
Kaaukai
Kaho
Kadani
Kaham
Kmea
Kaikoa
Kana1
Koant
Ka
Lam
Makai
Manu
Manuka
Nui
Pono
Popoki
Ruru
Tahu
Taurau
Tuam
Turoa
Tusfiah
lJmne
VUaata
Waipuna
Zmfiar
ROMAN,FEMALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13-14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
Aeha
Aenfiha
Agflppum
Aka
Antonia
AquHa
Augusta
Aureha
BaHfina
Blandina
Caeha
CanfiHa
Cafia
(flaudm
CloeHa
Donufia
Drusa
Fabm
Fabricia
Fausta
Havm
Hofiana
Hflvm
Gennana
(Haucm
Grafiana
Hadflana
Herwuna
Horatia
Hortensia
lovha
luha
LaeHa
Laurenfia
Uvm
LongMa
Lucma
Lucrefia
hflarceHa
hflarcia
Maflma
Nona
(Dctavia
Paaa
Petrorfia
Porda
Tacfia
Tuma
Verghfla
Vha
ROMAN,
MALE
d1oo
01—02
03—04
05—06
07—08
09—10
11—12
13-14
15—16
17—13
19—20
21—22
23—24
25—26
27—23
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—43
49—50
51—52
53—54
55—56
57—53
59—60
61—62
63—64
65—66
67—68
69—70
71—72
73—74
75—76
77473
79—80
81—82
83—84
85—86
37—33
39—90
91—92
93—94
95—96
97—93
99—00
Name
Aehus
Aefius
Agflppa
Albanus
AHJus
Antots
AppMs
Aqumnus
Atflus
Augustus
AureHus
Avhus
Bdbus
adus
Bmshm
Brutus
CaeHus
Cmus
Cagan
Casmus
Cato
Cebus
Claudius
(Joehus
Cnaeus
Cflspus
Cypflanus
Diocletianus
Egnafius
Ennius
Fabricius
Faustus
Gahw
Genfianus
Gnaeus
l4orafius
IOVMnus
IuHus
LucMus
Manius
Marcus
Marius
Maximus
Octavius
Paulus
Quintilian
Regulus
Servius
Tacnus
Vafius
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SLAVIC,
FEMALE
d1oo
01—02
03—04
05—06
07—08
09—10
11—12
13—14
15—16
17~18
19—20
21—22
23—24
25~26
2?-23
29—30
31—32
33—34
35—36
37—33
39—40
41—42
43—44
45—46
4?—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65-66
6?—68
69-?0
?i—?2
73—74
75—?6
17—73
79—80
81—82
33—34
85-86
37~33
39—90
91—92
93—94
95—96
9?—93
99—00
Name
Agripina
Anastasiya
Bogdana
Bolesiava
Bozhena
Danica
Darya
Desislava
Dragoslava
Dunja
Efrosinia
Ekaterina
Elena
Faina
Galina
Irina
Iskra
jasna
Kata
rina
Katya
Kresimira
Lyudmila
Magda
Mariya
Militsa
Miloslava
Mira
Miroslava
Mokosh
Morana
Natasha
Nika
Olga
Rada
Radoslava
Raisa
Siavitsa
Sofiya
Stanislava
Sveflana
Tatyana
Tomislava
Veronika
Vesna
Vladimira
Yaroslava
Yelena
Zaria
Zarya
Zoria
SLAVIc,
MALE
d100
01—02
03—04
05—06
07—08
09—10
iiwiZ
13—14
15—16
17m18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—66
67—68
69—70
71—72
73—74
75~76
77—78
79—80
31~82
83—84
85—86
87—88
89—90
91—92
93—94
95—96
97—98
99—00
Name
Aleksandru
Berislav
Blazh
Bogumir
Boguslav
Borislav
Bozhidar
Bratomil
Bratoslav
Bronisiav
Chedomir
Chestibor
Chestirad
Chestislav
Desilav
Dmitrei
Dobromil
Dobroslav
Dragomir
Dragutin
Drazhan
Costislav
Kazimir
Kyrilu
Lyubomir
Mechislav
Milivoj
Milosh
Mstislav
Nikola
Ninoslav
Premislav
Radomir
Radovan
Ratimir
Rostislav
Slavomir
Stanislav
Svetoslav
Tomislav
Vasili
Velimir
Vladimir
Vladisiav
Vlastimir
Volodimeru
Vratislav
Yarognev
Yaromir
Zbignev
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SPANISH,FEMALE
d100
01—02
03—04
05—06
0?-03
09—10
11—12
13—14
15—16
17—13
19—20
21—22
23—24
25—26
2r—23
29—30
31—32
33—34
35—36
37—38
39—40
41—42
43—44
45—46
41—43
49—50
51—52
53—54
55—56
57—53
59—60
63—62
63—64
65—66
67—68
.‘4.
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1‘4
H
l
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Name
AbeHa
AdaHna
Adora
Adflana
Ana
Antonia
Baflfia
Beatriz
Bonha
Can1Ha
Cande
Cannen
Catlina
Dolores
Donflnga
Dorotea
Elena
Ehcm
Esmerelda
Fehpkm
Francisca
Cabneb
lnuflda
Ines
Isabel
Juana
Leocadia
Leonor
Leta
Ludnda
hflaresol
hflana
Maricela
Matilde
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SPANISH,FEMALE
d100
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
Name
Nkflanm
Monica
Neva
Nflda
Petrona
Rafieb
Ranflra
Rosano
Sofia
Sudo
Teresa
Tbrnasa
Vamnfia
Veronica
Ynes
Ysabel
SPANISH,
MALE
d100
01—02
03—04
05—06
07—08
09—10
11—12
13-14
15—16
17—18
19—20
21—22
23—24
25—26
27—28
29—30
31—32
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Til
li‘h
Name
Alexandre
AHonso
Alonso
Anthon
Arcos
Arnaut
Arturo
Bartoleme
Benho
Bernat
Blasco
Cados
Danfian
[DEgO
Donungo
Enflque
SPANISH,
MALE
d100
33—34
35—36
37-38
39—40
41—42
43—44
45—46
47—48
49—50
51—52
53—54
55—56
57—58
59—60
61—62
63—64
65—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
Name
Escobar
Ettor
Fernando
Francmo
Gabnel
Garcia
Gaspar
CH
Comes
Concmo
Costantin
hyme
Joan
Jorge
Jose
Juan
Machin
hflarth1
hflateu
Nfiguel
bucoms
Pascual
Pedro
Poflco
Ranflro
Rmfion
Rodflgo
Sabasfian
Sawador
Shnon
Tomas
'Tfistan
Vmeflano
Yrugo
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ISBN:
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RETAIL:
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