Dungeon Master's Guide Core Rulebook II V.3.5

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Core Rulebook II v.3.5
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CREDITS
DUNGEON MASTER’S GUIDE DESIGN
Monte Cook
DUNGEON MASTER’S GUIDE
D&D DESIGN TEAM
Monte Cook, Jonathan Tweet,
Skip Williams
ADDITIONAL DESIGN
Peter Adkison, Richard Baker, Andy
Collins, David Noonan
EDITORS
Julia Martin, John Rateliff
EDITORIAL ASSITANCE
Duane Maxwell, Jeff Quick
MANAGING EDITOR
Kim Mohan
CORE D&D CREATIVE DIRECTOR
Ed Stark
DIRECTOR OF RPG R&D
Bill Slavicsek
VISUAL CREATIVE DIRECTOR
Jon Schindehette
ART DIRECTOR
Dawn Murin
D&D CONCEPTUAL ARTISTS
Todd Lockwood, Sam Wood
D&D LOGO DESIGN
Matt Adelsperger, Sherry Floyd
COVER ART
Henry Higginbotham
INTERIOR ARTISTS
Lars-Grant West, Scott Fischer, John
Foster, Todd Lockwood, David Martin,
Wayne Reynolds, Arnie Swekel,
Kevin Walker, Sam Wood
GRAPHIC DESIGNERS
Sean Glenn, Sherry Floyd
TYPOGRAPHER
Victoria Ausland, Erin Dorries,
Angelika Lokotz, Nancy Walker
CARTOGRAPHER
Todd Gamble
PHOTOGRAPHER
Craig Cudnohufsky
BRAND MANAGER
Ryan Dancey
CATEGORY MANAGER
Keith Strohm
PROJECT MANAGERS
Larry Weiner, Josh Fischer
DIGI-TECH SPECIALIST
Joe Fernandez
PRODUCTION MANAGER
Chas DeLong
SPECIAL THANKS
Cindi Rice, Jim Lin, Richard Garfield,
Skaff Elias, Andrew Finch
DUNGEON MASTER’S GUIDE REVISION
David Noonan, Rich Redman
D&D REVISION TEAM
Rich Baker, Andy Collins, David Noonan,
Rich Redman, Skip Williams
DEVELOPMENT AND EDITING
Gwendolyn F.M. Kestrel
PROOFREADERS
Bill McQuillan, Cal Moore,
Katsuyo Nagasawa
MANAGING EDITOR
Kim Mohan
CORE D&D CREATIVE DIRECTOR
Ed Stark
DIRECTOR OF RPG R&D
Bill Slavicsek
ART DIRECTOR
Dawn Murin
COVER ART
Henry Higginbotham
INTERIOR ARTISTS
Matt Cavotta, Ed Cox, Lars Grant-West,
Scott Fischer, John Foster, Jeremy
Jarvis, John and Laura Lakey, Todd
Lockwood, David Martin, Raven Mimura,
Wayne Reynolds, Scott Roller,
Brian Snoddy, Arnie Swekel, Sam Wood
GRAPHIC DESIGNER
Dawn Murin
CARTOGRAPHER
Todd Gamble
GRAPHIC PRODUCTION SPECIALIST
Angelika Lokotz
PHOTOGRAPHER
Craig Cudnohufsky
VICE PRESIDENT OF PUBLISHING
Mary Kirchoff
CATEGORY MANAGER
Anthony Valterra
PROJECT MANAGER
Martin Durham
PRODUCTION MANAGER
Chas DeLong
OTHER WIZARDS OF THE COAST
R&D CONTRIBUTORS
Paul Barclay, Michele Carter, Jennifer
Clarke Wilkes, Bruce R. Cordell, Mike
Donais, David Eckelberry, Skaff Elias,
Andrew Finch, Jeff Grubb, Rob Heinsoo,
Gwendolyn F.M. Kestrel, Christopher
Perkins, Charles Ryan, Michael
Selinker, Jonathan Tweet, James Wyatt
SPECIAL THANKS
Mary Elizabeth Allen, Stephen Radney-
McFarland, Liz Schuh, Alex Weitz, Andy
Smith, Mat Smith, Jefferson Dunlap
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . 4
Chapter 1: Running the Game . . . . . . . 5
What Is a DM?. . . . . . . . . . . . . . . . . . . . . 5
Style of Play . . . . . . . . . . . . . . . . . . . . . . . 7
Example of Play . . . . . . . . . . . . . . . . . . . . 8
Running a Game Session . . . . . . . . . . 10
Chapter 2: Using the Rules . . . . . . . . . 19
More Movement Rules . . . . . . . . . . . . 19
Movement and the Grid . . . . . . . . 19
Moving in Three Dimensions . . . 20
Evasion and Pursuit . . . . . . . . . . . . 20
Moving around in Squares . . . . . . 20
Bonus Types . . . . . . . . . . . . . . . . . . . . . . 21
Combat . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Line of Sight . . . . . . . . . . . . . . . . . . 21
Starting an Encounter . . . . . . . . . . 22
New Combatants . . . . . . . . . . . . . . 23
Keeping Things Moving . . . . . . . . 24
Combat Actions. . . . . . . . . . . . . . . . 25
Attack Rolls . . . . . . . . . . . . . . . . . . . 26
Damage . . . . . . . . . . . . . . . . . . . . . . . 26
Effect of Weapon Size . . . . . . . . . . 28
Splash Weapons . . . . . . . . . . . . . . . 28
Area Spells . . . . . . . . . . . . . . . . . . . . 28
Big and Little Creatures
in Combat . . . . . . . . . . . . . . . . . . 29
Skill and Ability Checks . . . . . . . . . . . 30
Saving Throws . . . . . . . . . . . . . . . . . . . . 33
Adjudicating Magic . . . . . . . . . . . . . . . 34
Describing Spell Effects . . . . . . . . 34
Handling Divinations . . . . . . . . . . 34
Creating New Spells. . . . . . . . . . . . 35
Rewards. . . . . . . . . . . . . . . . . . . . . . . . . . 36
Experience Awards. . . . . . . . . . . . . 36
Story Awards . . . . . . . . . . . . . . . . . . 40
Character Death . . . . . . . . . . . . . . . . . . 41
Making a New Character . . . . . . . 42
Chapter 3: Adventures . . . . . . . . . . . . . 43
Motivation . . . . . . . . . . . . . . . . . . . . . . . 43
Structure . . . . . . . . . . . . . . . . . . . . . . . . . 44
Site-Based Adventures . . . . . . . . . . . . . 46
Event-Based Adventures . . . . . . . . . . . 47
The End (?) . . . . . . . . . . . . . . . . . . . . . . . 48
Encounters . . . . . . . . . . . . . . . . . . . . . . . 48
Tailored or Status Quo. . . . . . . . . . 48
Challenge Ratings and
Encounter Levels . . . . . . . . . . . . 48
Difficulty . . . . . . . . . . . . . . . . . . . . . 49
Tougher Monsters . . . . . . . . . . . . . 50
Location . . . . . . . . . . . . . . . . . . . . . . 50
Rewards and Behavior. . . . . . . . . . 50
Treasure. . . . . . . . . . . . . . . . . . . . . . . . . . 51
Bringing Adventures Together. . . . . . 56
Between Adventures . . . . . . . . . . . . . . 57
The Dungeon. . . . . . . . . . . . . . . . . . . . . 57
Dungeon Terrain . . . . . . . . . . . . . . . . . . 59
Walls . . . . . . . . . . . . . . . . . . . . . . . . . 59
Doors . . . . . . . . . . . . . . . . . . . . . . . . . 60
Rooms . . . . . . . . . . . . . . . . . . . . . . . . 62
Corridors . . . . . . . . . . . . . . . . . . . . . 63
Miscellaneous Features . . . . . . . . . 63
Cave-Ins and Collapses . . . . . . . . . 66
Illumination. . . . . . . . . . . . . . . . . . . 67
Traps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Elements of a Trap . . . . . . . . . . . . . 68
Sample Traps . . . . . . . . . . . . . . . . . . 70
Designing a Trap . . . . . . . . . . . . . . . 74
Dungeon Ecology . . . . . . . . . . . . . . . . . 76
Dungeon Animals. . . . . . . . . . . . . . 76
Wandering Monsters. . . . . . . . . . . 77
Random Dungeons. . . . . . . . . . . . . . . . 77
Dungeon Level . . . . . . . . . . . . . . . . 77
The Map and the Key. . . . . . . . . . . 77
Random Dungeon Encounters . . 78
A Sample Adventure . . . . . . . . . . . . . . 78
Statistics Blocks. . . . . . . . . . . . . . . . . . . 85
Wilderness Adventures . . . . . . . . . . . . 86
Getting Lost . . . . . . . . . . . . . . . . . . . 86
Forest Terrain. . . . . . . . . . . . . . . . . . 87
Marsh Terrain . . . . . . . . . . . . . . . . . 88
Hills Terrain . . . . . . . . . . . . . . . . . . . 89
Mountain Terrain . . . . . . . . . . . . . . 89
Desert Terrain . . . . . . . . . . . . . . . . . 91
Plains Terrain . . . . . . . . . . . . . . . . . . 91
Aquatic Terrain . . . . . . . . . . . . . . . . 92
Underwater Combat . . . . . . . . . 93
Weather. . . . . . . . . . . . . . . . . . . . . . . 93
Random Wilderness
Encounters. . . . . . . . . . . . . . . . . . 95
Urban Adventures. . . . . . . . . . . . . . . . . 98
Weapon and Spell Restrictions . . 99
Urban Features . . . . . . . . . . . . . . . . 99
Urban Encounters . . . . . . . . . . . . 101
Chapter 4: Nonplayer Characters . . 103
Everyone in the World . . . . . . . . . . . 103
NPC Classes . . . . . . . . . . . . . . . . . . . . . 107
Adept. . . . . . . . . . . . . . . . . . . . . . . . 107
Aristocrat . . . . . . . . . . . . . . . . . . . . 108
Commoner. . . . . . . . . . . . . . . . . . . 108
Expert . . . . . . . . . . . . . . . . . . . . . . . 109
Warrior . . . . . . . . . . . . . . . . . . . . . . 109
NPC Statistics . . . . . . . . . . . . . . . . . . . 110
NPC Attitudes . . . . . . . . . . . . . . . . . . . 128
Fleshing out NPCs . . . . . . . . . . . . . . . 128
Chapter 5: Campaigns. . . . . . . . . . . . . 129
Establishing a Campaign. . . . . . . . . . 129
Maintaining a Campaign . . . . . . . . . 130
Characters and the World
around Them . . . . . . . . . . . . . . . . . . 131
War and Other Calamities . . . . . . . . 133
Other Campaign Issues. . . . . . . . . . . 134
World-Building . . . . . . . . . . . . . . . . . . 135
Building a Different World. . . . . . . . 144
Adventuring on Other Planes . . . . . 147
Plane Descriptions . . . . . . . . . . . . . . . 151
Creating a Cosmology . . . . . . . . . . . . 167
Chapter 6: Characters 169
Ability Scores. . . . . . . . . . . . . . . . . . . . 169
Races . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Subraces . . . . . . . . . . . . . . . . . . . . . 170
Modifying a Common Race. . . . 171
Changes through Addition
and Subtraction . . . . . . . . . . . . 171
Class/Race Restrictions . . . . . . . 171
New Races . . . . . . . . . . . . . . . . . . . 171
Monsters as Races . . . . . . . . . . 172
Classes . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Modifying Character Classes. . . 174
Creating New Classes . . . . . . . . . 175
Prestige Classes . . . . . . . . . . . . . . . . . . 176
Arcane Archer. . . . . . . . . . . . . . . . 176
Arcane Trickster . . . . . . . . . . . . . . 177
Archmage. . . . . . . . . . . . . . . . . . . . 178
Assassin. . . . . . . . . . . . . . . . . . . . . . 180
Blackguard . . . . . . . . . . . . . . . . . . . 181
Dragon Disciple . . . . . . . . . . . . . . 183
Duelist. . . . . . . . . . . . . . . . . . . . . . . 185
Dwarven Defender. . . . . . . . . . . . 186
Eldritch Knight. . . . . . . . . . . . . . . 187
Hierophant. . . . . . . . . . . . . . . . . . . 188
Horizon Walker . . . . . . . . . . . . . . 189
Loremaster . . . . . . . . . . . . . . . . . . . 190
Mystic Theurge . . . . . . . . . . . . . . . 192
Red Wizard . . . . . . . . . . . . . . . . . . 193
Shadowdancer . . . . . . . . . . . . . . . . 194
Thaumaturgist. . . . . . . . . . . . . . . . 196
How PCs Improve . . . . . . . . . . . . . . . 197
Learning Skills and Feats . . . . . . 197
Learning New Spells . . . . . . . . . . 198
Gaining Class Benefits . . . . . . . . 198
General Downtime. . . . . . . . . . . . 198
Gaining Fixed Hit Points . . . . . . 198
Creating PCs above 1st Level . . . . . . 199
Special Cohorts . . . . . . . . . . . . . . . . . . 199
Familiars . . . . . . . . . . . . . . . . . . . . . . . . 200
Mounts . . . . . . . . . . . . . . . . . . . . . . . . . 204
Animal Companions . . . . . . . . . . . . . 205
Epic Characters . . . . . . . . . . . . . . . . . . 206
Chapter 7: Magic Items. . . . . . . . . . . . 211
Handling Magic Items . . . . . . . . . . . 212
Magic Item Descriptions . . . . . . . . . 215
Armor . . . . . . . . . . . . . . . . . . . . . . . 216
Weapons . . . . . . . . . . . . . . . . . . . . . 221
Potions and Oils . . . . . . . . . . . . . . 229
Rings . . . . . . . . . . . . . . . . . . . . . . . . 229
Rods. . . . . . . . . . . . . . . . . . . . . . . . . 233
Scrolls . . . . . . . . . . . . . . . . . . . . . . . 237
Staffs . . . . . . . . . . . . . . . . . . . . . . . . 243
Wands . . . . . . . . . . . . . . . . . . . . . . . 245
Wondrous Items . . . . . . . . . . . . . . 246
Intelligent Items . . . . . . . . . . . . . . . . . 268
Cursed Items . . . . . . . . . . . . . . . . . . . . 272
Artifacts. . . . . . . . . . . . . . . . . . . . . . . . . 277
Creating Magic Items . . . . . . . . . . . . 282
Masterwork Items . . . . . . . . . . . . 283
Special Materials. . . . . . . . . . . . . . 283
Chapter 8: Glossary . . . . . . . . . . . . . . . 289
Special Abilities. . . . . . . . . . . . . . . . . . 289
Condition Summary . . . . . . . . . . . . . 300
The Environment . . . . . . . . . . . . . . . . 302
Visual Aids . . . . . . . . . . . . . . . . . . . . . . . 305
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
List of Sidebars . . . . . . . . . . . . . . . . . . 319
List of Numbered Tables . . . . . . . . . . 320
TABLE OF
CONTENTS
Introduction
This is the DUNGEONS & DRAGONS®Roleplaying Game, the game
that defines the genre and has set the standard for fantasy role-
playing for more than 30 years.
Specifically, this is the Dungeon Masters Guide. This book con-
tains information that every Dungeon Master (DM) needs to set
up adventures, narrate the action, run the monsters, and referee
the DUNGEONS &DRAGONS game. This book, the Players Handbook,
and the Monster Manual comprise the core rules for the D&D®
game.
THE DUNGEON MASTER
We’ve distilled our knowledge of the D&D® game into the mate-
rial that follows. Whether you need to know how to design an
adventure, a campaign, or an entire game world, the material in
this book can, and will, help you.
You’re a member of a select group. Truly, not everyone has the cre-
ativity and the dedication to be a DM. Dungeon Mastering (DMing)
can be challenging, but its not a chore. You’re the lucky one out of
your entire circle of friends who play the game. The real fun is in
your hands. As you flip through the Monster Manual or look at pub-
lished adventures on a store shelf, you get to decide what the player
characters (PCs) take on next. You get to build a whole world, as well
as design and play all its nonplayer characters (NPCs).
It’s good to be the DM.
The DM defines the game. A good DM results in a good game.
Since you control the pacing, and the types of adventures and
encounters, the whole tenor of the game is in your hands. Its fun,
but its a big responsibility. If you’re the sort of person who likes to
provide the fun for your friends, or to come up with new ideas,
then you’re an ideal candidate for DM.
Once your group has a Dungeon Master, however, that doesnt
mean that you can’t switch around. Some DMs like to take a turn
at being a player, and many players eventually want to try their
hand at DMing.
HOW TO USE THIS BOOK
No one expects you to read this book cover to cover. Its not a
novel. Instead, we arranged this book into topics that you can refer
to when you need them. Plus, an extended glossary at the back of
the book provides quick reference to DM-related topics.
Based on those portions of the game that you control, you’ll find
chapters that deal with running the game, adjudicating play, writ-
ing adventures, building a campaign, awarding experience, and
finding or creating the right magic items to stock your dungeons.
Refer to the table of contents and the index to locate the specific
topic you need at any given time.
PLAYING ON THE BATTLE GRID
The D&D game assumes the use of miniature figures, and the
rules are written from that perspective. This book contains a battle
grid and other tools to help you visualize the action.
The poster-sized sheet in the back of the book has a 1-inch grid
on one side, and a collection of rooms that can be used to repre-
sent areas in a dungeon on the other side.
The last 12 pages of this book (just ahead of the index) present a
variety of visual aids that you can use to set up and play out
encounters and adventures on the grid:
—Six pages of diagrams that show the squares contained
within areas of different sizes and shapes, and graphic depictions
of space and reach for creatures of varying sizes.
—Six pages of illustrations that represent various dungeon
features, sized to fit the 1-inch grid, that you can photocopy, cut
out, and place on the grid—enabling players to actually see
what lies before their characters as they make their way through
the dungeon.
FINAL NOTE
The power of creating worlds, controlling deities and dragons, and
leading entire nations is in your hands. You are the master of the
game—the rules, the setting, the action, and ultimately, the fun.
This is a great deal of power, and you must use it wisely. This book
shows you how.
INTRODUCTION
WHY A REVISION?
The new DUNGEONS & DRAGONS game debuted in 2000. In the three years
since the d20 Game System energized the roleplaying game industry,
we’ve gathered tons of data on how the game is being played. We
consider D&D to be a living game that constantly evolves as it is
played. Using the gathered feedback, we’ve retooled the game from the
ground up and incorporated everyone’s suggestions to improve the
game and this product.
If this is your first experience with D&D, we welcome you to a wonder-
ful world of adventure and imagination. If you played the prior version of
this book, rest assured that this revision is a testament to our dedication
to continuous product improvement and innovation. We’ve updated
errata, clarified rules, polished the presentation, and made the game
better than it was. This is an upgrade of the d20 System, not a new edition
of the game. This revision is compatible with existing products, and these
products can be used with the revision with only minor adjustments.
What’s new in the revised Dungeon Master’s Guide? The entire book has
been polished and refined, all in response to your feedback and to reflect
the way the game is actually being played. We’ve revised the encounter
tables and magic item creation rules. We’ve expanded the movement
rules, increased the number of prestige classes, added dozens of new
magic items and magic item special abilities, and provided plenty of tools
to help promote the three-dimensional experience.
Take a look, play the game. We think you’ll like how everything turned
out.
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pqqrs
THE PURPOSE OF SIDEBARS
You’ll see blocks of text that look like this one frequently throughout
this book. The information in these sidebars is not part of the rules per
se, but you’ll find them useful and interesting in their own right. Most
sidebars in this book serve either to introduce rules variants or to give
you a glimpse “behind the curtain” into how some aspect of the D&D
game was created.
Variant: To give you an idea of some of the ways in which you can
alter the D&D rules for your own campaign, some sidebars suggest
variants that you can adopt or modify to suit your game.
The basic rules presented in this book—that is, everything not iden-
tified as a variant—apply to the baseline D&D campaign. If you are
playing in an RPGA®Network event, that event uses the basic rules in
this book. Establishing a standard set of rules makes a worldwide
gaming network possible.
Behind the Curtain: Some sidebars provide a further explanation of
why the rules are the way they are—a look “behind the curtain” into
how the game’s designers make decisions about the rules. If you’re the
sort of DM who likes to tinker with the rules of the D&D game, these
sidebars offer some advice and inspiration as you customize the game
for yourself and your players.
pqqrs
pqqrs
n your role as Dungeon Master, youre the focus of the game. If the
games fun, it will be to your credit. If its a failure, you’ll get the
blame, whether it’s deserved or not. Dont worry, though—run-
ning a D&D® game is not as hard as it may seem at first. (But dont
tell the players that!)
WHAT IS A DM?
Dungeon Mastering involves writing, teaching, acting, referee-
ing, arbitrating, and facilitating. Described below are the different
duties of the DM. You’ll find that you like some more than others.
As in any hobby, focus on what you enjoy the most, but remember
that all the other duties are also important.
PROVIDING ADVENTURES
Your primary role in the game is to present adventures in which
the other players can roleplay their characters. To accomplish
this, you need to spend time outside the game sessions them-
selves, preparing. This is true whether you write your own adven-
tures or use prepared adventures that you have purchased.
Writing Adventures
Creating adventures takes a great deal of time. Many DMs find
that they spend more time getting ready for the game than they
do at the table actually playing. These same DMs often find this
creation time to be the most fun and rewarding part of being a
Dungeon Master. Making up interesting characters, settings,
plots, and challenges to present before your friends can be a great
creative outlet.
Writing good adventures is so important that it receives its
own chapter in this book. See Chapter 3: Writing an Adventure.
Using Purchased Adventures
Many published adventures are available for you to pur-
chase if you don’t want to write one of your own, or if you
just want a change of pace. In a published adventure, you’ll
get a pregenerated scenario with all the maps, NPCs, mon-
sters, and treasures you need, and an adventure plot
designed to make the most of them. Sometimes, when
you use a published adventure, you’ll see that it presents
challenges you would have never thought of on your
own.
Remember, however, that you’re the one who has to
run the adventure: Anything you want to change, you
can. In fact, you will often find you need to make at least
small changes to fit the adventure into your ongoing
campaign and to get your players into the action. You
can have a great deal of fun replacing the villain of an
adventure with one the players have already heard of
in your campaign, or changing the background of the
adventure so that it involves your players’ characters
in ways that the modules designer never could have
possibly imagined.
TEACHING THE GAME
Sometimes its going to be your responsibility to
teach newcomers to the game how to play. This isnt
a burden, but a wonderful opportunity. Teaching
other people how to play provides you with new play-
ers and allows you to set them on the path to becoming
top-notch roleplayers. Its easier to learn to play with
someone who already knows the game. Those who
are taught by a good teacher who runs a fun game
Illus. by A. Swekel
are more likely to join in the hobby for the long haul. Use this
opportunity to encourage new players to become the sort of
people you want to game with.
Here are a few pointers on teaching the game.
Read the Players Handbook and know the character creation
rules so you can help new players build characters. Have each of
the newcomers tell you what sort of character he or she wants to
play and then show them how they can create those heroes with
the D&D rules. If they dont know what to play, show them the
player character races and classes in the Players Handbook, briefly
describe each, and let them choose the one that appeals to them
the most. Another option is to keep a few simple characters
(such as a 1st-level fighter or rogue) around for newcomers.
Advance those characters in level as the party advances. and
you’ll have “old friends” who adventure with the party when
newcomers play them.
Once the PCs are created, dont worry about teaching the play-
ers all the rules ahead of time. All they truly need to know are the
basics that apply to understanding their characters (how spells
work, what AC means, how to use skills, and so forth), and they
can pick up most of this information as they go along. Remember
the most basic rule: To attack, make a saving throw, or use a skill,
roll a d20 and hope for a high number.
As long as you know the rules, the players need be concerned
only with their characters and how they react to what happens to
them in the game. Have players tell you what they want their char-
acters to do, and translate that into game terms for them. Teach
them how the rules work when they need to learn them, on a case-
by-case basis. For example, if the player of a wizard wants to cast a
spell or the player of a fighter wants to attack, the player tells you
what the character is attempting. Then you tell the player which
modifier or modifiers to add to the roll of a d20, and what happens
as a result. After a few times, the player will know what to do with-
out asking.
PROVIDING THE WORLD
Every Dungeon Master is the creator of his or her own campaign
world. Whether you use the GREYHAWK® setting (the standard
D&D campaign setting) or another published setting for the D&D
game, such as the FORGOTTEN REALMS®Campaign Setting, its still
your world.
The setting is more than just a backdrop for adventures, al-
though its that too. The setting is everything in the fictional world
except for the PCs and the adventure plot. A well-designed and
well-run world seems to go on around the PCs, so that they feel a
part of something, instead of apart from it. Though the PCs are
powerful and important, they should seem to be residents of some
fantasy world that is ultimately larger than they are.
Consistency is the key to a believable fictional world. When the
PCs go back into town for supplies, they ought to encounter some
of the same NPCs they saw before. Soon, they’ll learn the bar-
keep’s nameand she’ll remember theirs as well. Once you have
achieved this degree of consistency, however, provide an occa-
sional change. If the PCs come back to buy more horses at the sta-
bles, you could have them discover that the man who ran the place
went back home to the large city over the hills, and now his
nephew runs the family business. That sort of changeone that
has nothing to do with the PCs directly, but one that they’ll
notice—makes the players feel as though they’re adventuring in a
living world as real as themselves, not just a flat backdrop that
exists only for them to delve its dungeons.
For much more on running a campaign, see Chapter 5.
ADJUDICATING
When everyone gathers around the table to play the game, you’re
in charge. That doesnt mean you can tell people what to do out-
side the boundaries of the game, but it does mean that you’re the
final arbiter of the rules within the game. Good players will always
recognize that you have ultimate authority over the game mechan-
ics, even superseding something in a rulebook. Good DMs know
not to change or overturn a published rule without a good, logical
justification so that the players dont rebel (more on that later).
To carry out this responsibility, you need to know the rules.
You’re not required to memorize the rulebooks, but you should
have a clear idea of what’s in them, so that when a situation comes
up that requires a ruling, you know where to reference the proper
rule in the book.
Often a situation will arise that isnt explicitly covered by the
rules. In such a situation, you need to provide guidance as to how
it should be resolved. When you come upon a situation that the
rules dont seem to cover, consider the following courses of action.
•Look to any similar situation that is covered in a rulebook. Try
to extrapolate from what you see presented there and apply it to
the current circumstance.
•If you have to make something up, stick with it for the rest of
the campaign. (This is called a house rule.) Consistency keeps
players satisfied and gives them the feeling that they adventure
in a stable, predictable universe and not in some random,
nonsensical place subject only to the DM’s whims.
•When in doubt, remember this handy little rule: Favorable
conditions add +2 to any d20 roll, and unfavorable conditions
penalize the roll by –2. You’ll be surprised how often this “DM’s
best friend” will solve problems.
If you come upon an apparent contradiction in the rules, con-
sider these factors when adjudicating.
•A rule found in a rulebook overrules one found in a published
adventure, unless the rule presented in the published adven-
ture deals with something specific and limited to the adventure
itself.
Choose the rule that you like the best, then stick with it for the
rest of the campaign. Consistency is a critical aspect of rules
adjudication.
PROPELLING THE GAME EVER FORWARD
While all the players are responsible for contributing to the game,
the onus must ultimately fall upon the DM to keep the game
moving, maintain player interest, and keep things fun. Remember
that keeping things moving is always more important than search-
ing through rulebooks to find the exact details on some point or
spending time in long debates over rules decisions.
Even a well-run game can bog down sometimes. Perhaps the
players have been at it a while and are growing a little tired of the
same old thing. Maybe a playing session falls flat for no apparent
reason. Sometimes this cant be helped—you’re only human. In
fact, occasionally you will find it’s better to cancel a playing ses-
sion or cut it short rather than have a poor experience that may set
back the whole campaign.
However, an average playing session can be turned into a mem-
orable one, or a poor session can be spiced up. For example, props
can bring new life to a game. You can make fake parchment from
normal paper, “aging” it by wetting it slightly with coffee or tea
and then letting it dry to an uneven yellow. Toss in a few creases or
small rips, and later when the PCs find a map or a message you can
actually hand it to them. Old coins, tarot cards, a battered book in
a foreign language, and the like all make wonderful handouts to
get players into the spirit of the game.
Another kind of visual aid is artwork. In all D&D game prod-
ucts, you’ll find wonderful fantasy illustrations. Look through
those products, or find a book cover or some other art source to
provide you with a picture that fits something the PCs will
encounter. Then, when the encounter comes to pass, pull out the
picture and say, “This is what you see.” While players’ imagina-
tions are fertile, sometimes seeing a depiction of something they
encounter in the game—a character, a monster, or a place
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makes the experience all the more exciting or real. Sometimes you
can find illustrations in odd places. Jewelry catalogs can provide
visual aids for some magic items or treasure, and sometimes a his-
tory book or encyclopedia with illustrations is just as good as a fan-
tasy book.
Of course, you can’t always have a prop or a picture of some
monster, NPC, or place that you have created. That’s when you
rely on an evocative, exciting description. Pepper your descrip-
tions of what the characters see with adjectives and vivid verbs.
Remember that you are the players’ eyes and ears. “A dank, dark
chamber with moss growing in cracks in the stone walls” is much
more exciting than “a 10-foot-by-10-foot room.Throughout the
game, continually ask yourself: What exactly do the characters
see? Do they hear anything? Are there any noticeable odors? An
unpleasant tang in the air? Do they feel the chill wind against
their skin? Is their hair tousled by hot, damp gusts?
No player will forget a tense battle on a crumbling bridge in the
middle of a thunderstorm. The best way to get the players’ atten-
tion is with gripping action. While not every encounter needs to
be life-threatening or earth-shaking, keep in mind how it would
all seem in some action movie or exciting book. Villains shout epi-
thets as they fight, and monsters roar menacingly. If a fight against
gnolls is exciting, imagine how much more exciting a fight would
be against gnolls on a ledge around a lava pit.
Some DMs enjoy creating just the right atmosphere for their
playing sessions. Music is often a good way to accomplish this. It’s
sort of like having a soundtrack for your game. Not surprisingly,
those who enjoy using music in their games often use soundtracks
from adventure movies, although classical, ambient, or other
styles work well. Keep in mind, though, that some players may
find music distracting. Be receptive to what your players likean
atmosphere in which they cant hear, are distracted, or arent enjoy-
ing themselves is never a good one. Other ways DMs can create an
atmosphere are with painted miniatures and dioramas, specially
adjusted lighting, and even sound effects. (If the door to the room
you are in squeaks, you may want to use that when the PCs open a
dungeon door.)
Another element many DMs employ and many players enjoy is
for the DM to use different voices when speaking “in character.
Practicing several different accents or
ways of speaking and assigning them
to different NPCs can be a striking
way to make those characters stand
out in the players’ minds.
Occasionally, a little miming of
actions can supplement a game
that otherwise exists only in your
imagination. If an NPC is shriv-
eled and stooped over when she
walks, stand up and show the players exactly what you mean.
When the ceiling above the PCs begins to collapse, slam your fists
upon the table to simulate the sound of falling rocks. If someone
holds out his hand and offers something to a PC, mime the
action—almost every time, the player (assuming the character
takes whats offered) will follow your cue instinctively and reach
out, miming the character’s grasping whatever it is. You could
even make a player whose character is invisible sit under the table
to remind everyone that they cant see her, and her voice just
comes out of nowhere. Keep in mind, though, that this sort of
activity can quickly get out of hand. Dont act out your combats, or
someone could get a black eye!
Finally, every once in a while, really surprise your players.
The NPC they thought was a villain turns out to be a
shapechanged unicorn with only the best of intentions. The
clue they thought led to the treasure vault turns out to be a red
herring. If the PCs are in a dungeon room, and a fire giant is
about to storm into the room and attack, keep your voice at a
moderate or even soft level while describing the room. Then,
suddenly, raise your voice and leap to your feet as the giant
enters. That’ll get their attention.
STYLE OF PLAY
The DM provides the adventure and the world. The players and
the DM work together to create the game as a whole. However, its
your responsibility to guide the way the game is played. The best
way to accomplish this is by learning what the players want and
figuring out what you want as well. Many styles of play exist; two
that sit at opposite ends of the playing spectrum are detailed
below as examples.
KICK IN THE DOOR
The PCs kick in the dungeon door, fight the monsters, and get the
treasure. This style of play is straightforward, fun, exciting, and
action-oriented. Very little time is spent on developing personas
for the player characters, roleplaying noncombat encounters, or
discussing situations other than what’s
going on in the dungeon.
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The kick-in-the-door
style of play.
In such a game, let the PCs face mostly clearly evil monsters
and opponents and meet clearly good helpful NPCs (occasion-
ally). Don’t expect PCs to anguish over what to do with prisoners,
or whether it’s right or wrong to invade and wipe out the bugbear
lair. Don’t bother too much with money or time spent in town. Do
whatever it takes to get the PCs back into the action as quickly as
possible. Character motivation need be no more developed than a
desire to kill monsters and acquire treasure.
Rules and game balance are very important in this style of play.
If some characters have combat ability greater than that of their
fellows, unfair situations may develop in which the players of the
overpowered characters can handle more of the challenges and
thus have more fun. If you’re using this style, be very careful about
adjudicating rules and think long and hard about additions or
changes to the rules before making them.
DEEP-IMMERSION STORYTELLING
The Free City of Greyhawk is threatened by political turmoil. The
PCs must convince the members of the ruling council to resolve
their differences, but can only do so after they have come to terms
with their own differing outlooks and agendas. This style of gam-
ing is deep, complex, and challenging. The focus isnt on combat
but on talking, developing in-depth personas, and character inter-
action. A whole game session may pass without a single die roll.
In this style of game, the NPCs should be as complex and richly
detailed as the PCs—although the focus should be on motivation
and personality, not game statistics. Expect long digressions from
each player about what his or her character will do, and why.
Going to a store to buy iron rations and rope can be as important
an encounter as fighting orcs. (And dont expect the PCs to fight
the orcs at all unless their characters are motivated to do so.) A
character will sometimes take actions against his players better
judgment, because “that’s what the character would do.” Adven-
tures in this style of play deal mostly with negotiations, political
maneuverings, and character interaction. Players talk about the
story” that they are collectively creating.
Rules become less important in this style. Since combat isnt the
focus, game mechanics take a back seat to character development.
Skill modifiers take precedence over combat bonuses, and even
then the actual numbers often dont mean much. Feel free to
change rules to fit the players roleplaying needs. You may even
want to streamline the combat system so that it takes less time
away from the story.
SOMETHING IN BETWEEN
The style of play in most campaigns is going to fall between the two
extremes just described. There’s plenty of action, but theres a story-
line and interaction between characters as well. Players will develop
their characters, but they’ll be eager to get into a fight. Provide a nice
mixture of roleplaying encounters and combat encounters. Even in
a dungeon, you can present NPCs that aren’t meant to be fought but
rather helped out, negotiated with, or just talked to.
OTHER STYLE CONSIDERATIONS
A few other style-related issues are worth your consideration.
Serious versus Humorous: How seriously you take things
sets the standard for how seriously the players take things. Jokes
and silly remarks can make the game more fun, but they can also
detract from the action. If you make funny comments during the
game, expect that the players will, too.
Likewise, if you design adventures that are lighthearted, create
NPCs that are slightly silly, or introduce embarrassing or humor-
ous situations into the game, realize that it changes the tenor of
the game. If the king of the land is a talking dog named Muffy or
if the PCs have to find a brassiere of elemental summoning rather
than a brazier of elemental summoning, don’t expect anyone to take
the game too seriously.
Overall, it’s recommended that you play things straight. Dont
intentionally insert jokes into the game. There’ll be enough josh-
ing around at the table already to keep the game fun. The in-game
action should remain fairly serious (although an occasional funny
moment is fine).
Naming Conventions: Related to how serious or humorous
the game is, character names should be fairly uniform in style
throughout the group. Although any character name is fine in and
of itself, a group that includes characters named Bob the Fighter,
Aldorius Killraven of Thistledown, and Runtboy lacks the consis-
tency to be credible.
Multiple Characters: You need to decide if each player is
going to be limited to one character or can have more than one,
and whether a player is allowed to actually run more than one
character at the same time. Generally, its best if you keep to one
character per player. However, when players are few, you might
allow them to run more than one character just to get the group
size up to at least four characters.
THE BOTTOM LINE
You’re in charge. This is not being in charge as in telling everyone
what to do. Rather, you get to decide how your player group is
going to play this game, when and where the adventures take
place, and what happens. That kind of being in charge.
EXAMPLE OF PLAY
A DM guides four players through their first adventure. The play-
ers are playing Tordek (a dwarf fighter), Mialee (an elf wizard),
Jozan (a human cleric), and Lidda (a halfling rogue). These four
adventurers seek the ruins of an abandoned monastery, drawn by
rumors of a fabulous fire opal, supposedly hidden there by the
abbot when the place was attacked.
After passing through the lifeless aboveground ruins of the mon-
astery, the adventurers find a rubble-strewn staircase leading down.
Tordek: Lets give these upper ruins one more quick look.
DM: [Making some rolls in secret, but knowing theres nothing to find
in the burned-out shell of the monastery.] You don’t find anything.
What are you going to do now?
Jozan: Let’s go down!
Lidda: We’ll light a torch first.
DM: Fine, but I’ll need the marching order that you’ll be in.
At this point, the players arrange their miniature figures, each repre-
senting one character, in the order in which they will march down the
stairs (and walk down corridors, and enter rooms). Tordek goes first, fol-
lowed by Jozan (with the torch), then Mialee. Lidda brings up the rear, her
player noting that she will be watching behind them occasionally.
If the players didn’t have miniatures, writing down the marching order
on a piece of paper would suffice.
Tordek: Fortunately, the torchlight wont spoil my darkvision—
that’ll help us navigate in the dark down there.
Jozan: Okay, we go down the stairs.
DM: You descend southward, possibly 30 feet laterally, and at
the end of the stairway you see an open space.
Tordek: I enter and look around.
Jozan: I come in behind with the torch.
DM: You are in a chamber about 30 feet across to the south and
30 feet wide east and west. You see 10-foot-wide passages to the left
and right as well as straight ahead, each in the center of its respec-
tive wall. Looking back, you see the stairway by which you entered
the chamber in the center of the north wall.
Lidda: What else do we see?
DM: The floor is rough and damp. The ceiling is supported by
arches that probably rise to meet in the center, about 20 feet above
you—its hard to tell because of all the webs. Some moldering old
sacks are lying in the southwest corner, and some rubbish is jum-
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bled in the center of the floor—dirt, old leather, scraps of cloth,
and some sticks or bones.
After a short discussion and the formation of a plan, each player
announces an action for his or her character. Tordek looks down the south
passage, Mialee investigates the rubbish in the middle, Jozan looks at the
old sacks, and Lidda looks down the west passage. The players position
their figures on a floor plan the DM has sketched out on paper.
Since no one paid the webs any attention, the DM doesn’t worry about
Spot checks to see the spider.
DM: Okay. As two of you are looking down the passages and
Jozan starts looking at the sacks . . . [The DM rolls a touch attack for
the monstrous spider in the webs. He knows a 14 indicates success because
he wrote down everyones AC ahead of time and knows Mialees AC is 13.]
. . . Mialee, you feel something land on your shoulder—it feels
hairy and moves toward your neck!
Mialee: Yikes! What is it?
Tordek: If I hear her call out, I’ll turn around. What do I see?
DM: Wait just a minute. First, Mialee, roll for initiative.
Mialee: [Rolls.] I got a 19!
DM: [Rolls initiative for the spider, and gets a 9.] Everyone else
should roll for initiative as well. Tordek, you heard Mialee gasp,
and you turn to see a large, hairy spider on her neck.
Jozan rolls a 10, Lidda an 8, and Tordek a 4.
DM: Mialee, you go first. What do you do?
Mialee: I grab it from my shoulder and throw it to the ground,
where I can stomp on it with my boot.
DM: Okay, but your unarmed attack provokes an attack of
opportunity from the spider, so it bites as you grab at it. [He rolls an
attack roll for the spider, and gets a 16.] Ugh! Mialee, you feel a sharp
prick on your neck. Make a Fortitude saving throw.
The players all gasp in fear. Mialee rolls a die and would add her Forti-
tude modifier, except that its +0.
Mialee: Fortitude, my worst save! Lets see—15 plus 0 is, well,
15. Is that good enough?
DM: You feel okay. But the bite still delivers 1 point of damage.
Mialee: Ouch. Okay, then I roll a 14 to grab it and throw it to the
ground. Do I succeed?
DM: Yes. The spider lands on the ground and looks like it’s
going to scuttle away, perhaps back up the wall to the webs above.
Jozan: My turn. I run up to it and smash it with my mace! I roll
a natural 20! With my bonus, thats 22 in all.
DM: Good roll! You can move that far and attack, so make a roll
to see if thats a critical hit.
Jozan: [Excitedly rolling again.] Is a 15 good enough?
DM: Yep. Roll damagetwice. Add the results together.
Jozan: [Rolls.] Sweet! Twelve points altogether once I add my
Strength bonus—which also doubled with the crit!
DM: That mighty blow smashes the creature to bits.
Mialee: Cool. Well, now that all the excitement is over, I’m
going to search through this refuse on the floor like I said I would.
DM: Okay. First, make another Fort save to see if there are any
lingering effects from that spider bite.
Mialee: Uh-oh, that doesnt sound good . . . [Rolls.] . . . a 17!
DM: No problems, then. You feel fine. Looking at the pile of
debris, youd guess it’s probably refuse from the spider—leftovers
of its victims and its own castings. Amid bits of bone and tatters of
clothing, you find 19 silver pieces. And make a Search check.
Mialee rolls a 9 and adds her +6 Search modifier for a result of 15—just
enough to notice a hidden gem in the pile!
DM: You see something sparkle inside a small skull. Looking
closer, you see its a gem—a garnet.
Mialee: Great! I get it out and put it in my pouch. We can try
to appraise it later. You know, I’m getting a little nervous about
that web.
Lidda: Good point. Jozan, why not light the webs on fire with
your torch?
Jozan: Okay. I do. What happens? [Looks at the DM.]
DM: The webs burn quickly. As they do, tiny burning husks of
smaller spiders fall from the ceiling, but nothing the size of the
creature that attacked.
Tordek: [On lookout.] What do we see down the passages?
DM: The south tunnel runs straight as far as you can see. The
west corridor ends in a door at about 20 feet.
Tordek: Okay, I’ll also glance down the east passage.
DM: You see the east corridor goes straight for about 20 feet and
then turns a corner to head north.
Lidda: Lets check out that door. [Everyone agrees.]
DM: Okay. You walk down the west passage. The door is a great,
heavy thing with a huge ring of corroded bronze in the center.
Tordek: Mialee, your Listen modifier is better than mine. Why
dont you listen at this door?
Mialee: Okay. I move forward to do so. [Rolls.] I roll a 13. Do I
hear anything?
DM: You hear a faint moaning sound—you cant really tell what
it isthat rises and then fades away. The door is hinged on the left
and looks like it pulls inward toward you.
Mialee: I hear moaning on the other side. Lets get ready for
action! And, by the way, I move to my position toward the back. . .
Tordek: [Laughs.] All right, I’ll open the door while the elf
scrambles to the back of the line.
DM: Make a Strength check.
Tordek: [Rolls.] I only got a 10. If thats not good enough, can I
try again?
DM: Thats not good enough, but if you’re willing to spend more
time on it, you can keep trying.
Tordek: [To the other players.] Look, we really want to get through
this door, right? [They agree, so the player turns back to the DM.] I’m
willing to spend enough time to take 20 on my roll. With my
Strength bonus, that gives me a 22.
DM: Ah, easily good enough. After a couple of minutes, Tordek
forces open the stuck door. Immediately a blast of cold, damp air
gusts into the passage where you are, blowing out Jozans torch.
Tordek: Do I see anything with my darkvision?
DM: Beyond the door is a chamber with rough walls, not blocks
of stone like the room behind you. Its 25 feet wide and extends
about 40 feet to the south. A stream spills through the room into a
pool, carrying with it a cold, damp breeze. You don’t see anything
moving around, but some old barrels and buckets are here.
Jozan: I cast light on a rock, since we’ll never get a torch lit in
this wind.
DM: Okay, now everyone can see.
Tordek: I look at the ceiling and the floor for any more nasty
surprises.
Mialee: I’ll look in the barrels and buckets.
Lidda: Jozan, bring your light over and we’ll check out the pool.
DM: Tordek and Mialee, make Search checks. Lidda and Jozan,
give me Spot checks, since you cant “search” the pool without get-
ting into it, but you can look into the water to spot anything that
might be there. [The players comply and tell the DM their results,
although the DM knows that theres nothing for Tordek or Mialee to find.]
Theres nothing alarming about the ceiling and floor, and the
buckets are empty. The pool has some small white fish that look
harmlessthey don’t react at all to your light. The pool looks to be
4 to 6 feet deep with a rough and rocky bottom. Jozan, with your
result of 17 you see that what at first seemed to be a rock formation
near the center of the pool looks somewhat like a skeleton.
Jozan: Cool! Mialee, will you cast your own light spell so I can
toss this rock down into the pool to get a better look at this skele-
ton? It might be something interesting.
Mialee: Okay, I do.
Jozan: I toss the rock that I’ve cast light upon into the water,
toward the center of the pool.
DM: Your stone falls to the bottom of the pool, illuminating the
center. The formation is clearly a limed-over skeleton—it must
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have been there for many years. Your stone impacts with it, stir-
ring up dirt and muck, and dislodges what appears to be a cylinder
about a foot long. The current quickly begins to carry it away. . . .
Lidda: Oh, no! I leap into the water and get it—at least I’ll be
able to see down there. Better, in fact, because of my low-light
vision.
DM: Hmmm. Make a Swim check.
Lidda: Uh-oh. I don’t have that skill. Untrained, I use my
Strength bonus, right? Uhh . . . dont have one of those either.
[Rolls.] Hey! I still got a 17!
DM: You guys are rolling great tonight. Lidda, even with a
penalty for the weight of the gear you’re carrying, you succeed.
You manage to jump in and swim up to the tube just as the current
is going to sweep it out of the room and down the underground
stream. You have no idea if there would be air to breathe if you
swam down the dark, narrow passage, which seems to be com-
pletely filled with water.
Lidda: Okay, then I try to grab the tube now.
DM: Make an attack roll.
Lidda rolls high enough to grab the tube. The DM relays this informa-
tion, and Lidda swims up to the surface and climbs out of the pool with the
help of the others—all of whom announce that their characters crowd
around her to see what shes found. The DM describes the sealed tube.
Lidda: I dry off the tube a little, and then open it.
DM: Inside is a roll of vellum.
Tordek: Lets get out of this room and back into that entry cham-
ber where we can light torches again. It’s probably not going to be
easy to read a scroll or whatever with this air current. [The other PCs
agree, and they return to the first room, closing the door behind them.]
DM: The tube must have allowed a bit of water to seep in slowly,
because parts of the scroll are smudged and obliterated, but you
can see what looks like a map of the passages under the monastery.
You recognize the stairs down and the room with the pool and bar-
rels. The eastern portion of the map is smeared beyond legibility,
but you see that the south passage runs out of the room you’re in
now to a blurred area, and beyond that you see a large area with
coffinlike shapes drawn along the perimeter.
Tordek: Lets head south and see what the map is leading
toward. [Everyone agrees. Tordek lights a torch and takes the lead.]
DM: You pass down a long passage of stone blocks with an
arched ceiling about 15 feet overhead. The passage stretches for
about 60 feet, then opens into the northern portion of an unlit
chamber that looks to be about 50 feet by 50 feet to those of you
with darkvision or low-light vision. Its completely empty and
seems to be a dead end. What do you do?
Lidda: Does this room look like the one with the coffin shapes
on the map?
DM: No. It looks more like the blotched area on the map.
Mialee: I bet theres a secret door here. Let’s check the south
wall.
The DM decides to make the Search checks himself, hidden from the
players so that they won’t know the results. He knows that they can’t find
anything; there is a secret door 10 feet above the floor, but he doesn’t want
them to know that. Finding some holes in the wall requires no roll, so the
DM randomly determines who finds them by rolling a d4. He also makes
a Listen check for the ghouls at the far end of the secret corridor—an 18
means they have heard the party tapping on the walls looking for a
hollow spot.
DM: The wall seems solid. However . . . Tordek, you noticed
some strange holes in the wall—square places cut into the stone,
each about half a foot on a side and about that deep. There are four
all together. Each pair of holes is 10 feet apart, with one pair about
3 feet from the floor and the other pair about 6 feet up. You find
some wooden splinters in one of the holes.
Jozan: Let’s look at that map again.
Tordek: While you do that, I’ll feel around to find if the holes
have any levers or catches or anything.
DM: [Making some meaningless rolls, knowing there are no levers to
find.] You dont find anything like that, Tordek.
Mialee: The only thing I can think of is that the holes are sock-
ets for some sort of wooden construction.
Lidda: Sure! How about a ramp or stairs? How high is the ceil-
ing in this place?
DM: Oh, about 25 feet.
Lidda: How about hoisting me up and letting me search up
high?
Jozan: Good idea. Tordek, will you help me hold her steady?
Tordek: Sure.
Mialee: While they do that, I’ll keep a lookout to make sure
nothing sneaks up behind us from the way we came.
DM: Looks clear, Mialee. Lidda’s not heavy, so you guys dont
have to make Strength checks to lift her. You do have to make
them to hold her steady so that she can . . . What is it you’re going
to do once you’re hoisted up, Lidda?
Lidda: I’ll scan the stone first to see if markings or some operat-
ing device is evident.
DM: Okay, how about those Strength checks? Tordek, you’re
stronger, so Jozan is helping you rather than the other way around.
If the cleric can succeed on a check against DC 10, he’ll add +2 to
Tordek’s attempt.
The check results are good enough that Tordek and Jozan are able to
hold Lidda steady, so the DM makes a Search check for Lidda. She finds
something.
DM: Lidda, you find some stone projections that seem rather
smooth, as if worn by use.
Lidda: Then I’ll see if I can move any of the knobs. Maybe they’ll
open a secret door. I’ll pull, push, twist, turn, and slide. . . .
DM: Okay. One of the fist-sized projections moves inward, and
theres a grinding sound. A 10-foot-by-10-foot section of the wall,
10 feet above the floor in the center of the south wall, swings
inward and to the right.
Lidda: I’ll pull myself up into the doorway, and then I’ll see if I
can use my tools to somehow anchor a rope up here to help the
others climb.
DM: You get up there, and you’re looking around for a crack or
something to wedge a spike into, right? Make a Spot check.
The Spot check is actually to see if Lidda sees the ghouls waiting in the
darkness, but Lidda doesn’t know that (although the fact that the DM didn’t
ask for a Search check might have tipped off a more experienced player).
Lidda: Oops. I rolled a 7.
Now the DM begins rolling attacks for the ghouls. The players ask
whats going on, and why hes rolling dice, but his silence adds to the ten-
sion and suspense. The ghouls hit Lidda with their paralyzing touch.
DM: Lidda, make a Fortitude save.
Lidda: Oh, no! Why? A trap? [Rolls.] Arrgh—a 1. This is where
our luck runs out.
DM: [To the others.] You see a sickly gray arm strike the halfling
as shes looking around at the floor where she stands, 10 feet above
you. She utters a muffled cry, and then a shadowy form drags her
out of sight. What do you do?
RUNNING A GAME SESSION
After everything is prepared, and everyone sits down at the table,
you’re on. It’s your show. Here are some points to consider, while
at the table and before you ever get there, to help the game run as
smoothly as possible.
KNOWING THE PLAYERS
Normally, but not always, the DM is in charge of inviting players
to play in his or her game. If this is the case, its your responsibility
to know and understand each of these people well enough that
you can be reasonably sure that they’ll all get along, work well
together, and enjoy the sort of game you run.
CHAPTER 1:
RUNNING
THE GAME
A lot of this has to do with playing style. Ultimately, you have to
know the kind of game your players want to play—and, with play-
ers new to the game or a newly formed group, this knowledge may
take a while to emerge. Recognize that while youre in charge, its
really everybodys gameand that the players are all here, coming
back session after session, because they trust that you’ll help them
have a fun and rewarding gaming experience.
Table Rules
One thing that will help everyone, players and DM alike, to all get
along is establishing a set of rules—rules that having nothing to
do with the actual game but that govern what happens with the
people around the table.
Some table rules issues that you’ll need to deal with eventually
are discussed below. Its best to come up with the answers before
you start a regular campaign. You can establish these yourself, or
you can work them out with your players.
Nonattending Players: Sometimes a regular player can’t show
up for a game session. The others are faced with the question of
what to do with his or her character. You have several choices.
•Someone else runs that character for the session (and thus runs
two characters at once). This is easiest on you, but sometimes the
fill-in player resents the task, or the replaced player is unhappy
with what happened to the character in his or her absence.
•You run the character as though he or she were an NPC. This
might actually be the best solution, but dont do it if running a
character and running the game at the same time is too much
for you and hurts the whole session.
•The character, like the player, cant be present for this adven-
ture. This solution only works in certain in-game situations, but
if it makes sense for the character to be absent, that’s a handy
way to take the character out of the action for a game session.
Ideally, the reason for the characters absence is one that allows
him or her to jump back in with a minimum of fuss when the
player is available again. (The character may have some other
commitment, or she might fall victim to some minor disease,
for instance.)
•The character fades into the background for this session. This is
probably the least desirable solution, because it strains every-
ones suspension of disbelief.
Recognize that players come and go. Someone will move away,
anothers regular life will become busier, and yet another will
grow tired of the game. They’ll quit. At the same time, new players
will want to join in. Make sure always to keep the group at a size
that you’re comfortable with. The normal-sized group is around
four players (with the DM as the fifth person). However, some
groups are as small as two players, and others as large as eight or
more. (Very large groups sometime use a nonplayer assistant who
helps manage player actions, rules referencing, and NPCs to help
the DM keep from getting bogged down.) You can also play the
game one on one, with just one player and a DM, but thats a very
different sort of play experience. (Its a good way to handle special
missions such as a paladins atonement.)
If you can, try to find out from the players how long theyre
interested in playing, and try to get a modest commitment from
them to show up on a regular basis during that time.
Integrating New Players: When someone new joins the cam-
paign, his or her character needs to be integrated into the game. At
the same time, the player needs to be integrated into the group.
Make sure that a new player knows the table rules as well as the
game rules.
Dice Conventions: When someone makes a roll and the die
lands on the floor, do you reroll it or use the die as it lies? What do
you do with a die that lands cocked against a book? Are players
required to make all die rolls where the DM can see them? These
questions have no right or wrong answers, but deciding your
groups answers ahead of time will save you from arguments later.
Book Use: It’s best if you decide ahead of time which books
(other than the Players Handbook) a player can reference during a
playing session.
Rules Discussions: It’s probably best if players dont question
your rulings or established rules, propose changes to the rules, or
conduct discussions on other aspects of the game (aside from
whats immediately at hand) during the game itself. Such matters
are best addressed at the beginning or end of the session.
Jokes and Off-Topic Discussions: There are always funny
things to be said, movie quotes, good gossip, and other conversa-
tions that crop up during the game, whether they’re inspired by
whats going on in the session or completely extraneous. Decide
for yourself (and as a group) how much is too much. Remember
that this is a game and people are there to have fun, yet at the same
time keep the focus on the actions of the characters, so the whole
playing session doesnt pass in idle chat.
WORKING WITH PLAYERS
Two players want the same magic item. Each thinks his character
can use it best or deserves it for what hes done. If the players
cant find a way to decide who gets it, you will have to arbitrate or
impose a solution. Or, worse, one player is angry with another
player for something that happened earlier that day outside the
game, so now his character tries to harass or even kill the other
players character. You shouldnt sit back and let this happen. Its
up to you to step in and help resolve conflicts such as these.
You’re a sort of master of ceremonies as well as an umpire during
the game. Talk with the arguing players together or separately
outside the game session and try to resolve the conflict. Make it
clear as nicely as you can that you can’t let anyone’s arguments
ruin the game for the other players and that you wont tolerate
real-world hard feelings affecting the way characters within the
game react to each other.
If a player gets angry when you rule against her, be firm but
kind in telling her that you try your best to be fair and that you
cant have angry outbursts spoiling everyone else’s fun. Settle the
matter outside the game session. Listen to her complaints, but
remember that you’re the final arbiter, and that by agreeing to play
in your game she has also agreed to accept your decisions as DM
(see When Bad Things Happen to Good Characters, page 18).
Sometimes one players actions ruin the fun for everyone. An
obnoxious, irresponsible, troublemaking player can make the
game really unpleasant. Sometimes he gets other characters killed
because of his actions. Other times he stops the game altogether
with arguments, tantrums, or off-topic conversations. Still other
times he might keep everyone from playing by being late or not
showing up at all. Ultimately, you should get rid of this player.
Don’t invite him next time. Dont play the game with someone you
wouldnt enjoy spending time with in another social setting.
If one player dominates the game and monopolizes your time
with her characters actions, the other players will quickly grow
dissatisfied. Make sure everyone gets his or her turn. Also, make
sure each player gets to make his or her own decisions. (Overeager
or overbearing players sometimes try to tell the others what to do.)
If one player insists on controlling everything, talk to him outside
the game session and explain that his actions are making things
less fun for everyone.
METAGAME THINKING
“I figure there’ll be a lever on the other side of the pit that deacti-
vates the trap,” a player says to the others, “because the DM would
never create a trap that we couldnt deactivate somehow.Thats an
example of metagame thinking. Any time the players base their
characters’ actions on logic that depends on the fact that they’re
playing a game; they’re using metagame thinking. This behavior
should always be discouraged, because it detracts from real role-
playing and spoils the suspension of disbelief.
CHAPTER 1:
RUNNING
THE GAME
Surprise your players by foiling metagame thinking. Suppose
the other side of the pit has a lever, for example, but it’s rusted and
useless. Keep your players on their toes, and dont let them second-
guess you. Tell them to think in terms of the game world, not in
terms of you as the DM. In the game world, someone made the
trap in the dungeon for a purpose. You have figured out the reason
why the trap exists, and the PCs will need to do the same.
In short, when possible you should encourage the players to
employ in-game logic. Confronted with the situation given above,
an appropriate response from a clever character is “I figure there’ll
be a lever on the other side of the pit that deactivates the trap,
because the gnomes who constructed the trap must have a means
to deactivate it.” In fact, this is wonderful—it shows smart think-
ing as well as respect for the verisimilitude of the game world.
KNOWING THE PCS
One advantage that you always have over a professional writer
designing an adventure is that you know your players. You know
what they like, what they’re likely to do, what their capabilities
are, and what’s going on in your campaign right now. Thats why
even when you use a published adventure, you’ll want to work to
ensure that it gets integrated into your campaign properly.
A good DM will always know the following facts about the
characters in his or her game.
The Characters’ Basic Statistics: This includes class, race, level,
hit points, save and attack bonuses, spells, and special abilities. You
should be able to look at a monsters hit points, AC, and special qual-
ities and be able to judge whether it’s a fitting challenge. Compare,
for example, the monsters AC with the attack bonuses of the char-
acters in the group—particularly the fighters. When you assume
average rolls, can the fighters hit the creature? Do they need above-
average rolls? (If so, the challenge will be great.) Do they need a nat-
ural 20? (If so, the challenge is almost certainly too difficult.)
Examine the attack bonus of the monster. Look at the damage it
can deal. When you compare these pieces of information to the
AC and hit points of the PCs, will the monster be able to hit or
seriously damage the characters? Will it almost certainly kill one?
If the monsters attack bonus added to an average d20 roll hits the
characters AC, and the average damage dealt is more than the PC’s
total hit points, the monster will kill the character. When you look
at the save DCs for the monsters special attacks, are the characters
likely to successfully resist the attack?
These sorts of questions and analyses allow you to judge mon-
sters, encounters, and adventures and determine whether they are
appropriate for your group. Challenge Rating assignments for
such obstacles will help, but no one knows your group of charac-
ters as well as you do. (See Chapter 3: Adventures for details about
Challenge Ratings.)
Keep a record of all the characters, their abilities, spells, hit
points, AC, and so forth. One way to do this is to require the play-
ers to give you a new copy of their character sheet whenever the
character attains a new level. This information is helpful to you for
balancing encounters and monitoring hit point loss and spell
depletion during play. Its also very handy if a player cant make it
to a session, enabling you to simply hand the character sheet to
whoever is running the character for that session.
The Players’ Likes and Dislikes: Some groups hate political
intrigue and avoid or ignore it in favor of going down into the
dungeon. Other groups are more likely to run from a serious com-
bat challenge. Some groups prefer adventures with mind flayers
and psionics. Some dont. You’re the best judge, if you’re aware of
what the players like and what entices them, of whether they will
partake in and enjoy a particular encounter or adventure.
For example, a DM might find that the lure of gold motivates
the PCs in her group. She knows, then, that in order to get them
involved in the adventure she has written (or purchased), there
has to be some treasure involved, and the PCs need to know about
it ahead of time. Another group, however, might be interested in
heroic deeds. They don’t care about money, but if they hear that
the duchy’s in danger from a storm-controlling wizard, they’re off
to stop him in a flash.
Nothing’s more frustrating for a DM than to create an adven-
ture and provide the PCs with the hook that will bring them into
the action, only to have them ignore or even consciously reject it.
No one wants to see his or her adventure go unplayed. Know what
interests and motivates the group, and you’ll be able to avoid this
disheartening possibility.
What’s Going on in the Campaign: Since you’re managing
the events in the game, you need to keep track of what’s going on
anyway. Its important to always know what the characters are
doing and a little about their plans. If the PCs want to leave the
area and head into the mountains to find one of the characters’ old
mentors, you need to keep that in mind when preparing that ses-
sions adventure and in planning ahead for future sessions.
Keep a record of every significant event that occurs in the game.
A timeline can help you keep track of when events happened in
relation to each other (especially handy for monitoring the activi-
ties of recurring villains). Above all, make sure you always have a
good grasp of NPCs’ names (particularly ones you’re forced to
make up in the middle of the game), so that the name of the king
doesnt change abruptly from session to session. And of course you
should remember what the PCs have accomplished, where they
have been, enemies they have made, and so forth.
KNOWING THE ADVENTURE AND
OTHER MATERIALS
You’re running the game, so you have to know everything. Well,
maybe not everything, but certainly enough to keep things mov-
ing. If you know the PCs want to head into the mountains, it’s
helpful if, ahead of time, you have looked into how mountain
travel affects their movement, what it’s like to be in the mountains
(possibly through some research in an encyclopedia or travel
book), and other considerations (climbing gear, mountain
encounters, and the like). If you have a chance to try rock climb-
ing, or if you’ve done it before, so much the better—theres noth-
ing like personal experience to lend realism to your descriptions.
More to the point, you will want to have prepared as much as
you can for the adventure ahead of time. You will want to have fig-
ured out what will happen when, the layout of the area (both the
large-scale landscape and individual encounter areas), what the
PCs will encounter if they go to a particular area, how NPCs en-
countered in the adventure will react to the PCs, and the events
likely to happen (such as a conversation or a fight).
When you are running a published adventure, this preparation
often amounts to reading the material carefully and making notes
where you need them. Useful points to note might include any of
the following.
•Page numbers in the rulebook for rules you know you’ll need to
reference in a given encounter.
Changes needed for the adventure to fit into your campaign.
Changes you want to make to please your tastes or those of your
group.
•Preplanned actions you want NPCs to take in a given encounter
(ambushes, dying speeches, spell sequences).
•Reminders to yourself about rules, adventure structure, events
that might occur (such as random encounter checks), or the
consequences of certain actions.
If you are designing an adventure on your own, your preparation
requires (obviously) a lot more time. This preparation might in-
clude any of the following elements.
•Maps of the area (large scale) and of specific smaller areas where
encounters are likely to occur. These can be as simple and
sketchy or as detailed as you like.
CHAPTER 1:
RUNNING
THE GAME
•A key to the map or maps detailing special areas and what
might be encountered in each one, including foes, allies, trea-
sure, traps, environmental situations, and possibly even
descriptions of what the PCs see, hear, and experience upon
entering an area.
NPC listings that include their statistics and notes on their
potential reactions.
Bookmarks in the rulebooks (or notes listing page numbers) for
rules that might need to be referenced.
•Notes on the overall story or plot of the adventure if it is
complex.
•Statistics for any new monsters you’re introducing.
This preparation can amount to a lot of work. However, not every
adventure is going to require reams of notes in order to play. Not
every DM likes to prepare detailed notes ahead of time. Some have
more fun if they just “wing it.” And sometimes a DM would like to
be better prepared, but there just isnt time. Find the style of Dun-
geon Mastering that suits you best.
KNOWING THE RULES
If you know that the aerial combat rules will be needed to play out
the battle in which the PCs are mounted on griffons and the gar-
goyles attack them, review those rules before playing. When rules
less often used come into play in the course of the adventure, it
slows things down if you have to reread them in the midst of a
game. Looking over commonly used rulessuch as descriptions
for spells you know NPCs or PCs have prepared, or even the basic
combat rules—before a game session is always a good idea.
When a player has a rules question, you should be the one best
able to answer the question. Mastery of the rules is one reason
why the DM is sometimes called the referee.
No matter how well you know the rules, though, a player might
remember some point that didnt occur to you. Most players, quite
properly, won’t lord it over you if they know some rules better
than you do. If someone else at the table corrects your recollection
of a rule or adds some point you hadn’t thought of, thank that
player for his help. When people cooperate to make the game
better, everyone benefits.
KEEPING GAME BALANCE
A lot of people talk about game balance. They refer to rules they
like as “balanced,” and rules that dont seem to work as “unbal-
anced.” But what does “game balance” really mean? All game bal-
ance does is to ensure that most character choices are relatively
equal in terms of their chances for success. A balanced game is one
in which one character doesnt dominate over the rest because of a
choice that he or she made (race, class, skill, feat, spell, and so on).
It also reflects that the characters aren’t too powerful for the
threats they face; yet, neither are they hopelessly overmatched.
The two factors that drive game balance are discussed below.
Good DM Management: A DM who carefully watches all
portions of the game so that nothing gets out of his or her con-
trol helps keep the game balanced. PCs and NPCs, victories and
defeats, awards and afflictions, treasure found and treasure
spent—all these aspects must be monitored to maintain balance.
No one character should become significantly greater than the
others. If this does happen, the others should have an opportu-
nity to catch up in short order. The PCs as a whole should never
get so powerful that all the challenges become trivial to them.
Nor should they be constantly overwhelmed by what they
must face. Its no fun to always lose, and always winning gets
boring fast. (These types of games are known as “killer dun-
geons” and “Monty Haul games,” respectively.) When temporary
imbalances do occur, its easier to fix them by altering the chal-
lenges than by changing anything about the PCs and their
powers or equipment. No one likes to get something (a new
magic sword, for example), only to have it taken away again
because it was too unbalancing.
Player–DM Trust: Players should trust the DM. Trust can be
gained over time by consistent use of the rules, by not taking sides
(that is, not favoring one player at anothers expense), and by mak-
ing it clear that you’re not vindictive toward the players or the PCs.
If the players trust you—and through you, the game system—
they will recognize that anything that enters the game has been
carefully considered. If you adjudicate a situation, the players
should be able to trust it as a fair call and not question or second-
guess it. That way, the players can focus their attention on playing
their characters, succeeding in the game, and having fun, trusting
you to take care of matters of fairness and realism. They also trust
that you will do whatever you can to make sure they are able to
enjoy playing their characters, can potentially succeed in the
game, and will have fun. If this degree of trust can be achieved,
you will be much more free to add or change things in your game
without worrying about the players protesting or scrutinizing
every decision.
Handling Unbalanced PCs
Sometimes, though, the unexpected will happen. The characters
may defeat a villain, foiling what the villain (and you) thought was
an unstoppable escape plan, and gain a vorpal sword that you never
intended to fall into their hands. PCs entrusted to deliver an arti-
fact to its rightful owner may decide to simply keep it instead. Or,
even more likely, the combination of some new acquisition with
an item or spell or power a character already has will prove unbal-
ancing in a way you didn’t foresee.
When a mistake is made, and a PC ends up too powerful, all is
not yet lost. In fact, it’s usually simple to increase the challenges
that the character faces to keep him or her from breezing through
encounters. However, this way of solving the problem can be
unsatisfying, and it can mean that the encounters become too dif-
ficult for the other PCs. At the same time, as already noted, it’s
never fun to lose some new aspect of your character that turns out
to be unbalancing. From the players point of view, its not his or
her fault.
You have two options.
Deal with the Problem In-Game: “In-game” is a term used to
describe something that happens in the story created by the play
of the game. For example, suppose a PC becomes an unbalanced
character by using a wish spell to give herself the ability to cast all
her prepared spells twice rather than once. (This should never
happen from a wish, but DMs do make mistakes.) An in-game solu-
tion might be to have an enemy cleric use a miracle to rob her of
that newfound ability. Whatever you do, try not to make it obvious
that the situation is actually just a tool to balance the game.
Instead, make it seem just a part of the adventure. (If you dont,
indignant players will get very angry.)
Deal with the Problem Out-of-Game: “Out-of-game” means
something that takes place in the real world but has an impact on
the game itself. An out-of-game solution to the problem described
in the last paragraph would be to take the player aside between ses-
sions and explain that the game has become unbalanced because of
her character—things need to change, or the game may fall apart.
A reasonable person will see the value in continuing the game, and
she’ll work with you either in-game (perhaps donating a powerful
item to an appropriate NPC guardian) or out-of-game (perhaps by
erasing the unbalancing power or item from her character sheet
and just pretending it was never there). Be warned, however, that
some players may dislike this amount of intrusion on your part and
resent giving up a great ability or item their character “earned.
Even if they dont tell you to forget about it, they’ll begrudge the
loss. Whats worse, after an unfortunate exchange of this type, it
will seem obvious and contrived if you try to balance things with
an in-game solution. Nobody said DMing was easy.
CHAPTER 1:
RUNNING
THE GAME
CHANGING THE RULES
Beyond simply adjudicating, sometimes you are going to want to
change things. Thats okay. However, changing the rules is a chal-
lenge for a DM with only a little experience.
Altering the Way Things Work
Every rule in the Players Handbook was written for a reason. That
doesnt mean you can’t change some rules for your own game. Per-
haps your players don’t like the way initiative is determined, or
you find that the rules for learning new spells are too limiting.
Rules that you change for your own game are called house rules.
Given the creativity of gamers, almost every campaign will, in
time, develop its own house rules.
The ability to use the mechanics as you wish is paramount to
the way roleplaying games work—providing a framework for you
and the players to create a campaign. Still, changing the way the
game does something shouldnt be taken lightly. If the Players
Handbook presents the rules, then throughout the Dungeon Masters
Guide you will find explanations for why those rules are the way
they are. Read these explanations carefully, and realize the impli-
cations for making changes.
Consider the following questions when you want to change
a rule.
Why am I changing this rule?
Am I clear on how the rule that I’m going to change really
works?
•Have I considered why the rule existed as it did in the first
place?
•How will the change impact other rules or situations?
•Will the change favor one class, race, skill, or feat more than the
others?
•Overall, is this change going to make more players happy or
unhappy? (If the answer is “happy,” make sure the change isnt
unbalancing. If the answer is “unhappy,” make sure the change
is worth it.)
Often, players want to help redesign rules. This can be okay,
since the game exists for the enjoyment of all its participants,
and creative players can often find ways to fine-tune a rule. Be
receptive to player concerns about game mechanics. At the
same time, however, be wary of players who (whether selfishly
or innocently) want to change the rules for their own benefit.
The D&D game system is flexible, but it’s also meant to be a bal-
anced set of rules. Players may express a desire to have the rules
always work in their favor, but the reality is that if there were no
challenges for the characters, the game would quickly grow
dull. Resist the temptation to change the rules just to please
your players. Make sure that a change genuinely improves your
campaign for everybody.
ADDITIONS TO THE GAME
As DM, you get to make up your own spells, magic items, races,
and monsters. Your campaign might have a real need for a spell
that turns foes to crystal, or a monster covered in dozens of ten-
tacles that drains heat from living creatures. Adding new races,
spells, monsters, and magic items can be a really entertaining and
rewarding experience.
On the downside, an addition to the game can spoil game bal-
ance. As stated earlier, maintaining balance is an important DM
responsibility. Most unbalancing factors are actually hasty or ill-
considered DM creations. Dont let that happen to you.
One way to judge whether a new skill, feat, spell, or other op-
tion is balanced is to ask yourself, “If I add this to the game, is it
so good that everyone will want to have it?” At the same time,
ask yourself, “Is this so limited that no one will be interested in
it?” Keep in mind that its easier and more tempting to create
something thats too good rather than not good enough. Watch
yourself.
Making Mistakes
A magic item that allows the characters to move through walls
unhindered, giving them easy access to all sorts of places you do
not want them to go (at least without great effort), is a mistake.
A 4th-level spell that kills multiple foes with no saving throw is
a mistake. A race without a level adjustment that has bonuses of
+4 to Strength and Dexterity is a mistake.
Usually, the mistakes that creep into a campaign are the ones
that seem innocuous at first. A 1st-level spell creating a blast of
wind that knocks a foe down appears to be fine—until a shrewd
player uses it to knock a powerful opponent off the edge of a cliff.
On the other hand, you’ll know right away that you should never
have put a staff of disintegration with unlimited charges in that trea-
sure chest, or you should never have allowed your players to per-
suade you that the game would be more fun if critical hits multi-
plied all damage by five.
When things get unbalanced, you need to fix them either in-
game or out-of-game, depending on the situation and the involved
players’ personalities. Unbalanced character abilities or items are
best handled in-game, but rule changes can only be handled out-
of-game. Sometimes its best for you to admit to the players that
you made a mistake, and now it needs to be fixed in order to keep
the game fun, balanced, and running smoothly. The more reason-
able you are, the more likely your players are to understand.
SETTING THE STAGE
It’s worth stating again: Once the game starts, its all up to you. The
players are likely to take their cues from you on how to act and
react. If you handle the game seriously, they’ll be more likely to
CHAPTER 1:
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THE GAME
EQUIPMENT FOR RUNNING THE GAME
The following kinds of equipment are available to streamline or
enhance your game. They’re not for everyone, however.
DM Screen: This is a cardstock screen (available in many game and
hobby stores) that stands up on the table between you and the players. It
has useful tables and rules reminders on it to speed play. You can also clip
notes to it, so you can see them but the players can’t. Behind this screen,
you can put your maps and records on the table, and roll dice where the
players can’t see what you’re doing. The only drawback is that a screen
creates a wall between you and the players, which can be distancing. DMs
who wish to have the information on the screen handy but don’t want to
set themselves apart from the players sometimes lay the screen flat on
the table in front of them, hiding adventure notes underneath.
Counters: If you don’t have miniature figures for every character or
creature the PCs encounter, you can use any sorts of counters to
represent characters and monsters: printed counters with pictures of
the creatures, poker chips, checkers, coins, scraps of paper—anything
you want.
Computers: With a computer at the table (or at your side nearby,
but shielded from players), you can keep all your notes and maps in
electronic files easily searched and referenced during the game.
Special DM utility programs are available that manage NPCs, PCs,
monsters, treasure, and other kinds of information. Some will deter-
mine random encounters, create characters, and generate random
numbers. Not all roleplaying groups prefer to use a computer,
however, because of the tendency of the machine to draw the DM’s
attention away from the players and the game. If you find yourself star-
ing at the screen more than at your players, consider scaling back the
computer’s in-game use and restrict it to generating or manipulating
material between sessions.
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CHAPTER 1:
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take it seriously. If you come across with a relaxed, lighthearted
tone, they will crack a few jokes and make side comments of their
own. You make the game the way you want it to be.
Recapping
“Last time, you had just discovered the entrance to the lair of the
basilisk and learned that a tribe of goblins living nearby appar-
ently worships the creature like a god. You were near the end of
your fifth day of traveling through the Thangrat Forest. Mialee the
wizard had suffered a great wound while fighting the initial
goblin scouts. Krusk wanted to go straight to the goblins’ camp
and deal with them then and there, but the rest of you talked him
into helping you find a suitable place to make a safe and defensible
camp. The goblins, meanwhile, were obviously preparing for a
fight, based on the sounds you had heard earlier that day. Now, as
the sun sets beyond the distant mountains, it seems as though the
basilisk is stirring within its lair. What do you do?”
In the middle of a campaign, recapping activity from the previ-
ous session (or sessions) at the start of a new session often helps
establish the mood and remind everyone what was going on. It
can be frustrating to DM and players alike that while in the game
the characters continue what they were just doing, in real life the
players have lived perhaps several days of real time between then
and now. They might have forgotten important details that will
affect their decisions if they dont get reminders.
Of course, you need to keep notes on what happens so that
you dont forget either. At the very least, jotting down a few sen-
tences about what was going on at the very end of a game session
and bringing them out at the beginning of the next session is
always a good idea. You may find that you tend to think about the
game between sessions more than the players do, and thus you
have a better grasp of the events. You may get to the point where
you wont forget what has happened in past sessions, especially
since the adventures you’re working on now will often build off
those events.
USING MINIATURE FIGURES
Metal or plastic figures are used to represent characters, monsters,
and scenery in the game. You can use them on a grid to determine and
regulate the distance between individuals, tactical movement, line of
sight, and areas of spell effects. This book includes a two-sided poster
map containing a sample dungeon on one side and a 1-inch grid on
the other. (For regular use, a vinyl mat with a grid that you can write
on with wipe-off markers is especially useful. Mats of this sort are
often available at the same hobby and game stores that sell dice.)
Even without a grid, you can use miniatures arrayed on the
table to show marching order and relative position, or you can use
a tape measure and a scale of 1 inch = 5 feet to determine distances
on the tabletop precisely. Sometimes position in combat means
the difference between life and death, and miniature figures (per-
haps along with other suitable objects to represent terrain features
or dungeon furnishings) help everyone agree on the locations of
characters, creatures, and significant objects.
With a little searching, a player can usually find a miniature
that resembles the character he or she wants to play, and perhaps
is even posed the way the character would carry himself or herself.
MAPPING
When one of the players is drawing a map as the characters explore
a new place, give her a break. Describe the layout of the place in as
much detail as she wants, including dimensions of rooms. For clar-
ity, you might draw out the shape and size of a room on a grid in
front of you. Be willing to repeat a description if needed. Describe
anything the characters should be able to see (considering illumi-
nation and their own vision capabilities) or reasonably estimate
(such as the distance to the far wall of a cavern).
Of course, when the PCs are lost in a dungeon or walking
through fog, the whole point of the situation is that they don’t
know where they are (or where theyre going). In cases such as
these, don’t take pains to help the mapper. If the characters are
sneaking through a maze and they make a wrong turn, its all the
more fun when they have to backtrack.
PACING THE GAME SESSION
The pace of the game determines how much time you spend on a
given activity or action taken by the characters. Different players
enjoy different paces. Some players have their characters pick up
every copper piece; others decide its not worth the playing time.
Some roleplay every encounter, while some want to skip on to the
good bits”—combat and other action-oriented activity.
Do your best to please the group, but above all, keep things
moving. Don’t feel that it’s necessary to play out rest periods,
replenishing supplies, or carrying out daily tasks unless the play-
ers want to. Sometimes that degree of detail is an opportunity to
develop characters, but most of the time its unimportant.
Determine ahead of time, if possible, how long the playing ses-
sion will last. Doing this enables you to judge about how much
time is left at any point and pace things accordingly—you should
always end a session at a good stopping point (see Ending a Ses-
sion, below). Three to four hours is a good length for an evening
game. Some people like to play longer sessions, usually on a week-
end. Even if you normally play for shorter periods, sometimes its
fun to run a longer, “marathon” session.
Referencing Rules
Look at the rules only when you truly need to during a game. While
the rulebooks are here to help you, paging through a book to
double-check yourself can slow things down. Look when necessary
(and mark things you’ll need to refer to again with a bookmark), but
recall a rule from memory when you can. You may not be perfectly
correct in your recollection, but the game keeps moving.
Asking Questions
Don’t be afraid to stop and ask important questions. If the players
seem bored, ask if they would like you to skip ahead or pick up the
pace. If you’re unsure how they want to handle a situation, ask.
Taking Breaks
When you finish up a lengthy combat encounter or a tension-
filled scene, take a break. Particularly in a long playing session,
establish a few breaks for food, drinks, trips to the bathroom, or
just a little time to relax. During this time, you can take your mind
off things for a few minutes, or you can begin to prepare for the
coming encounter.
HANDLING PC ACTIONS
The important point to remember regarding the actions of player
characters during an adventure is that each player controls his or
her own character. Dont force a character to take a specific action
(unless the character is under a magical compulsion; see below).
Don’t tell a player what his or her characters emotions are. Even
if an NPC with a high Charisma score attempts to persuade a
character, no mere die roll should force a character into doing
something. Some rules in the game apply specifically to NPCs
and not PCs, the most significant of which are the rules concern-
ing NPC attitudes (see NPC Attitudes, page 128, and the Diplo-
macy skill on page 71 of the Players Handbook). These rules should
never be used to enable an NPC to change the way a player char-
acter views that NPC. When running an NPC, feel free to try
praising, misleading, tricking, cajoling, or maligning a character,
but dont use your authority as DM to exert control over what a
player character does.
Magical Compulsion
Your responsibility for dictating PC actions shifts when a player
character becomes subject to an effect (such as a charm person
spell or the domination ability of a vampire) that puts him or her
under the control of a monster or an NPC. Now the character is
compelled to do the bidding of his or her controller—repre-
sented by you.
Sometimes, adjudicating this sort of situation involves walking
a fine line: For instance, if an NPC wizard has just cast charm person
on a PC, what will you (as the wizard) order the character to do?
According to the spell description in the Players Handbook, “You
can try to give the subject orders, but you must win an opposed
Charisma check to convince it to do anything it wouldn’t ordinar-
ily do.” Who decides what the PC “wouldnt ordinarily do”—you or
the player?
The answer to that question is rarely clear-cut; at times, it may
be necessary for you and the player to come to an agreement on
what the character would “willingly” do in a certain situation. This
is one of the times in the game when you should not make deci-
sions on your own—confer briefly with the player of the PC, and,
assuming both of you are reasonable about the scope of what the
character would do, it shouldnt be difficult to adjudicate the effect
of the spell.
As stipulated in an adventure you have written (or purchased),
an NPC or a monster who gains control of a character may be
motivated by goals that give you an idea of what to order the PC
to do. Sometimes, the characters response to such an order (or
the characters opportunity to make an opposed Charisma
check) will be easy to determine; at other times, you
may need to reach an agreement with the player
as discussed above.
HANDLING NPC ACTIONS
Normally, NPCs should obey all the same rules as PCs. Occasion-
ally, you might want to fudge the rules for them in one way or
another (see DM Cheating and Player Perceptions, below), but in
general, NPCs should live and die—fail and succeed—by the
dice, just as PCs do.
Be as quick—or quicker—to decide what the NPCs do on their
turn as the players are when deciding the PCs’ actions. To keep
things moving, be ready ahead of time with what each given NPC
will do. (Since you know ahead of time that the encounter is
coming, you can prepare better than the players can.) Jot down
NPC strategies alongside their game statistics.
Still, NPCs are people too. Don’t let it be obvious to the players
that a particular character is “just an NPC,” implying that what he
or she does isn’t as smart or important as what a PC does. While that
might be true, it shouldnt seem to be true. In order to make the
game world seem real, the people who populate it should act real.
DESCRIBING THE ACTION
The players take all their cues from you. If you describe something
incompletely or poorly, the players have no chance of understand-
ing whats going on in the game world. While this is important all
the time that you’re running a game, its crucial that you do it well
during combats.
Your descriptions of each action that occurs, the locations of all
important objects and participants, and the general environment are
all crucial to the players’ abilities to make intelligent decisions for
their characters. Thus, you need to be clear about everything. Allow
the players to ask questions and answer them as concisely as you
can. Refer to each character dis-
tinctly. If you call each NPC “that
guy,” the players will never know
what you mean. If a monster
attacks, describe its
horns, bite, or claws
so that the players
understand what
the beast is
doing.
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Adventurers make careful plans regarding
their next adventure.
If the players do not seem to have understood something you
said, say it again. Sometimes important points are lost among lots
of new description. Don’t be afraid to repeat that a great deal of
heat comes up from the grate, or each time the dragonne moves,
the ceiling rumbles and dust shakes down onto the floor. The
worst that can happen is that players are reminded how important
the statement is, and they will act accordingly.
When a character moves, add background. Say “The manticore
moves away from the opening in the far wall, where the foul smell
seems to originate,” or “The barbarian steps even closer to the pit,”
or “The roper slides slowly across the uneven floor.” When a char-
acter uses an object, describe the object. “The warrior slashes you
with his wavy-bladed dagger” is much better than “He hits you for
3 points of damage.
The tone of your descriptions controls the flow of an encounter
and the mood that the encounter projects over the entire group. If
you speak quickly and intently, this lends intensity to the action. If
your words are frantic, they will make the mood of the scene seem
urgent and desperate.
Sometimes its effective to add a little pantomime to your de-
scriptions. If a PC’s opponent raises his huge two-handed sword
above his head to attack the character, raise your hands as if you
are grasping the sword’s hilt. When someone takes a terrible hit in
battle, flinch or recoil with a momentary look of mock pain. If the
PCs are fighting a giant, stand up when the giant takes his actions,
looking down at the seated players.
Sometimes its hard to avoid saying “You miss. He hits. You
take 12 points of damage.” And sometimes, that’s okay. Long
verbal descriptions can get tedious to give and to hear, and the
game effects are the important things. However, that’s the
exception, not the rule. Most of the time, at the very least, make
that “He ducks, and slashes with his longsword for 12 points of
damage.” It is usually better in a descriptive way to talk about
dealing damage rather than taking damage. “Its claws rake for 8
points” is at least somewhat interesting, but “You take 8 points”
describes nothing.
Remember, too, that an attack that does not deal damage is not
always a miss in the ordinary sense of the word. Heavily armored
characters may be frequently hit, but their armor protects them. If
you say “His short sword glances off your plate armor,” this not
only describes the action, but makes the player feel good about his
choice to spend extra gold on the good armor.
NPC Actions
When an NPC takes a combat action, the players sometimes need
to have a clue about what’s going on—both in the fictional reality
of the game and in terms of the games mechanics. This means that
when a lizardfolk with a crossbow is taking a ready action to cover
the area in front of a door, the players should have a pretty good
idea that if they move in front of that door, the lizardfolk is going
to shoot them.
You need to think about what various actions look like while
they’re happening. If you were all watching the combat in a movie,
what would you see when a character casts a spell or does some-
thing else that none of you have ever seen a real person do? Be dra-
matic, and describe the action fully, but avoid overexplaining,
because that will slow down the flow of the action. Be consistent
as well, because your words are not just description, they’re cues
by which the players make game decisions. If the last time some-
one used the aid another action, you described it as “distracting”
and “harrying,” use those words again. If that means that pretty
soon your players listen to your description and then say, “Ooh,
the wizard must be casting a spell,” you have accomplished some-
thing good—the players have learned your verbal cues to spell-
casting. Not only does that allow them to make good decisions
based on your descriptions, but it lends believability to the fic-
tional world you are creating.
Here are some vivid descriptions you can use to tell players
whats going on when a character takes a certain action.
Action Description
Charge “He lunges forward at full speed, eyes full of
violence.”
Full defense “She raises her weapon and watches your
attacks, attempting to parry each one.”
Aid another “While his ally attacks, he darts in and out of
the fight, distracting his foe.”
Ready a “He’s got his weapon trained on that
ranged weapon area, obviously waiting for something.”
Cast a spell “He moves his hands in a deliberate manner
and utters words that sound more like an
invocation than a sentence.”
Cast a stilled spell “She speaks a few short words, staring
intently.”
Cast a quickened “With a word and a flick of his hand, . . .”
spell
Cast a silenced “She does nothing but make a powerful
spell gesture.”
Use a special ability “Without using words or gestures, she calls
upon some power within herself, using her
great will and inner strength.”
Activate a “He focuses intently on his item,
magic item drawing power from it.”
Delay “She’s looking around, sizing up the
situation, and waiting to react.”
Interesting Combats
The spiral pathway rose up to the circular platform where the sev-
enteen magical gems were held in stasis. Below the path, a
seething pit of raw, explosive magical energy waited like an open
maw. The four adventurers climbed up the path, eager to reach
their goal, but suddenly a quasit swooped down from some hidden
recess. Tordek drew his axe, knowing that fighting on this narrow
path would be difficult and dangerous. He wasn’t sure what would
happen if one of them fell into that magical energy, but he didnt
want to find out.
While any combat can be exciting, you should occasionally
have the PCs face opponents in a nontraditional setting. Some-
times mounted combat, or aerial combat, can provide a change of
pace, and underwater settings can be interesting as well. A short
list of other suggestions appears below.
Factor Game Effect
Pits, chasms, bridges, Characters can attempt to push
and ledges opponents with a bull rush (see page 154 of
the Player’s Handbook).
FogConcealment (20% miss chance) for everyone
involved.
Whirling blades or Characters must make DC 13 Reflex saves
giant, spinning gears each round or take 6d6 points of slashing or
bludgeoning damage.
Steam vents One random character must make a DC 15
Reflex save each round or take 3d6 points of
damage from the heat.
Rising or lowering Characters can only melee opponents at the
platforms same elevation; platforms change elevation
every other round.
Ice or other slippery Characters must make DC 10 Balance checks
surfaces each round or fall prone, and then spend a
move action to stand.
For more ideas, see The Environment in Chapter 8: Glossary,
Chapter 3: Adventures, or take inspiration from an exciting
action movie or book.
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DETERMINING OUTCOMES
You’re the arbiter of everything that happens in the game.
Period.
Rolling Dice
Some die rolls, when seen by a player, reveal too
much. A player who rolls to see if her character
finds a trap and sees that she has rolled very
poorly knows that the information you give her as
a result of the roll is probably unreliable. (“Nope. No
traps down that way, as far as you can tell.”) The game is
much more interesting when the player of a character trying to
hide or move silently does not know whether the character has
succeeded.
In cases where the player shouldnt know the die result,
you can make the roll, keeping dice behind a screen or oth-
erwise out of sight. While this takes some of the fun of
rolling dice away from the players (and lets face it, that really
is a part of the fun of the game), it helps you to maintain con-
trol over what the player knows and doesn’t know.
Consider making checks involving the following
skills for the player where he or she cant see the
result: Bluff, Diplomacy, Hide, Listen, Move
Silently, Use Rope, Search, and Spot.
Do this on a case-by-case basis. When possible,
always let players make the rolls themselves.
When it would increase suspense to keep them in
the dark, roll the dice yourself.
DCs, ACs, and Saving Throws
Don’t tell players what they need to roll to succeed. Dont tell
them what all the modifiers are to the roll. Instead, tell the players
that keeping track of all those things is your job. Then, when they
roll the dice, tell them whether they succeed or fail.
This is important so that players focus on what their characters
are doing, not on the numbers. It’s also a way to hide sneaky mon-
ster tactics or the occasional DM cheat (see below).
DM CHEATING AND
PLAYER PERCEPTIONS
Terrible things can happen in the game because the dice just go
awry. Everything might be going fine, when suddenly the
players have a run of bad luck. A round later, half the partys
down for the count and the other half almost certainly can’t
take on the foes that remain. If everyone dies, the campaign
might very well end then and there, and thats bad for every-
one. Do you stand by and watch them get slaughtered, or do
you “cheat” and have the foes run off, or fudge the die rolls so
that the PCs still miraculously win in the end? There are
really two issues at hand.
Do you cheat? The answer: The DM really can’t cheat. You’re
the umpire, and what you say goes. As such, it’s certainly within
your rights to sway things one way or another to keep people
happy or keep things running smoothly. Its no fun losing a long-
term character who gets run over by a cart. A good rule of thumb
is that a character shouldnt die in a trivial way because of some
fluke of the dice unless he or she was doing something really
stupid at the time.
However, you might not think its right or even fun unless you
obey the same rules the players do. Sometimes the PCs get lucky
and kill an NPC you had planned to have around for a long time.
By the same token, sometimes things go against the PCs, and dis-
aster may befall them. Both the DM and the players take the bad
with the good. Thats a perfectly acceptable way to play, and if
theres a default method of DMing, thats it.
Just as important an issue, however, is whether the players real-
ize that you bend the rules. Even if you decide that sometimes it’s
okay to fudge a little to let the characters survive so the game can
continue, don’t let the players in on this decision. It’s important to the
game that they believe their characters are always in danger. If the
players believe, consciously or subconsciously, that you’ll never let
bad things happen to their characters, they’ll change the way they
act. With no element of risk, victory will seem less sweet. And if
thereafter something bad does happen to a character, that player
may believe you’re out to get him if he feels you saved other play-
ers when their characters were in trouble.
When Bad Things Happen to Good Characters
Characters suffer setbacks, lose magic items, take ability score
penalties, lose levels, and die (sometimes repeatedly). Unfor-
tunate events are part of the game, almost as much as suc-
cess, gaining levels, earning treasure, and attaining
greatness. But players dont always take it well when
something bad happens to their characters.
Remind players that sometimes bad things happen.
Challenges are what the games all about. Point out that
a setback can be turned into an opportunity to succeed
later. If a character dies, encourage the other players (per-
haps subtly) to have their characters get the dead character raised
or resurrected. If doing this is not an option, reassure the player of
the dead character that there are lots of opportunities in new char-
acter types she hasn’t yet tried. A bard somewhere will pen a ballad
about the fallen characters heroic demise even as the group wel-
comes her new PC. The game goes on.
It’s rare but possible that an entire party can be wiped out.
In such a case, dont let this catastrophe end the whole
game. NPC adventurers might find the PCs and have
them raised or resurrected, putting the PCs deeply in
their debt (an adventure hook if ever there was
one). The players can create a temporary party for
the purpose of retrieving the bodies of the fallen
adventurers for raising or at least honorable burial.
Or, everyone can roll up new characters and start
anew. Even thats not really so bad—in fact, its an opportunity for
a dramatic change of pace.
ENDING A SESSION
Try not to end a game session in the middle of an encounter. Leav-
ing everything hanging in this way is a terrible note to end on. It’s
difficult to keep track of information such as initiative order,
spell durations, and other round-by-round details
between sessions. The only exception to this guideline is
when you purposely end a session with a cliffhanger. A
cliffhanger ending is one in which the story pauses just as
something monumental happens or some surprising turn of
events occurs. The purpose is to keep players intrigued and
excited until the next session.
If someone was missing from a session and you had her charac-
ter leave the party for a while, make sure that there’s a way to work
her character back in when she returns. Sometimes a cliffhanger
can serve this purposethe PC comes racing into the thick of
things like the cavalry to help her beleaguered friends.
Allow some time (a few minutes will do) at the end of play to
have everyone discuss the events of the session. Listen to their
reactions so you can learn more of what they like and dont like.
Reinforce what you thought were good decisions and smart ac-
tions on their parts (unless such information gives too much away
for the adventure). Always end the session on a positive note.
You may want to award experience points at the end of each ses-
sion, or you might wait until the end of each adventure. Thats up
to you. However, the standard procedure is to give them out at the
end of each session, so players whose characters go up a level have
time to choose new spells, buy skills, and take care of other details
related to level advancement.
CHAPTER 1:
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his chapter covers the rules you need to play the DUNGEONS
& DRAGONS game, from the moment the characters enter
the dungeon to the end of the session, when they tally up
their experience points.
MORE MOVEMENT RULES
The Players Handbook covers tactical and overland movement for
Small and Medium creatures either traveling across the ground, or
using skills such as Climb, Jump, and Swim. This section of the rules
expands on that information to include creatures smaller than
Small and larger than Medium and also discusses flying movement.
MOVEMENT AND THE GRID
While this is a game of imagination, props and visual aids can
help everyone imagine the same thing, avoid confusion, and
enhance the entire game play experience.
In a round-by-round simulation, particularly when you are
using miniatures, movement will sometimes feel choppy. If a
character runs across a room so large that it takes him 2 rounds to
do so, it might seem as though he runs halfway, stops, and then
runs the rest of the way a little later. Although theres no way to
avoid representing movement in a start-stop-start-stop fashion,
try to keep in mind—and emphasize to the players—that all
movement during an encounter is actually fluid and continuous.
Movement and Position
Few characters in a fight are likely to stand still for long. Enemies
appear and charge the party; the adventurers reply, advancing to
take on new foes after they down their first opponents. Wizards
circle the fight, looking for the best place to use their magic;
rogues quietly skirt the fracas, seeking a straggler or an
unwary opponent to strike with a sneak attack. With all this
tactical maneuvering going on, some way to represent char-
acter location within a defined scale can really aid the game.
Handle movement and position by using miniature fig-
ures on a grid. Miniatures show where a figure is in rela-
tion to others, and the grid makes it clear how far the char-
acters and monsters can move.
Standard Scale
1-inch square = 5 feet
30mm figure = human-size creature
Scale and Squares
The standard unit for tactical maps is the 5-foot square.
This unit is useful for miniatures and for drawing dun-
geon maps, which are usually created on graph paper.
In a fight, each Small or Medium character occu-
pies a single 5-foot square. Larger creatures take up
more squares, and several smaller creatures fit in a
square. See Table 8–4: Creature Size and Scale, page
149 of the Players Handbook.
Diagonal Movement
When moving diagonally on a grid, the first square
moved counts as 5 feet of movement, but the
second diagonal move counts as 10 feet. This pattern of
5 feet and then 10 feet continues as long as the character
moves diagonally, even if some straight movement
through squares separates the diagonal moves. For
example, a character moves 1 square diagonally
Illus. by A. Swekel
(5 feet), then 3 squares straight (15 feet), and then another square
diagonally (10 feet) for a total movement of 30 feet.
Armor and Encumbrance
The Players Handbook explains the effect of armor and encum-
brance on creatures with base speeds of 20 feet or 30 feet. The table
below provides reduced speed figures for all base speeds from 20
feet to 100 feet (in 10-foot increments).
Base Speed Reduced Speed Base Speed Reduced Speed
20 ft. 15 ft. 70 ft. 50 ft.
30 ft. 20 ft. 80 ft. 55 ft.
40 ft. 30 ft. 90 ft. 60 ft.
50 ft. 35 ft. 100 ft. 70 ft.
60 ft. 40 ft.
MOVING IN THREE DIMENSIONS
Not every creature gets around by walking and running. A shark,
even though it moves by swimming, can take a run action to swim
faster. A character under the influence of a fly spell can make a
flying charge. A climbing thief can use part of his speed to climb
down a short wall and then use the remainder to hustle toward a
foe. Use the movement rules to apply to any sort of movement, not
just when traveling across a flat surface.
Tactical Aerial Movement
The elf barbarian mounted on the giant eagle swoops over the
group of mind flayers, launching arrows from his bow. One of the
mind flayers wears winged boots and takes to the air to better con-
front the elf. Once movement becomes three-dimensional and
involves turning in midair and maintaining a minimum velocity
to stay aloft, it gets more complicated.
Most flying creatures have to slow down at least a little to make
a turn, and many are limited to fairly wide turns and must main-
tain a minimum forward speed. Each flying creature has a maneu-
verability, as shown on Table 2–1: Maneuverability. The entries on
Table 2–1 are defined below.
Minimum Forward Speed: If a flying creature fails to maintain its
minimum forward speed, it must land at the end of its movement.
If it is too high above the ground to land, it falls straight down,
descending 150 feet in the first round of falling. If this distance
brings it to the ground, it takes falling damage. If the fall doesnt
bring the creature to the ground, it must spend its next turn recov-
ering from the stall. It must succeed on a DC 20 Reflex save to
recover. Otherwise it falls another 300 feet. If it hits the ground, it
takes falling damage. Otherwise, it has another chance to recover
on its next turn.
Hover: The ability to stay in one place while airborne.
Move Backward: The ability to move backward without turning
around.
Reverse: A creature with good maneuverability uses up 5 feet of
its speed to start flying backward.
Turn: How much the creature can turn after covering the stated
distance.
Turn in Place: A creature with good or average maneuverability
can use some of its speed to turn in place.
Maximum Turn: How much the creature can turn in any one space.
Up Angle: The angle at which the creature can climb.
Up Speed: How fast the creature can climb.
Down Angle: The angle at which the creature can descend.
Down Speed: A flying creature can fly down at twice its normal
flying speed.
Between Down and Up: An average, poor, or clumsy flier must fly
level for a minimum distance after descending and before climb-
ing. Any flier can begin descending after a climb without an inter-
vening distance of level flight.
EVASION AND PURSUIT
In round-by-round movement, simply counting off squares, its
impossible for a slow character to get away from a determined fast
character without mitigating circumstances. Likewise, it’s no
problem for a fast character to get away from a slower one.
When the speeds of the two concerned characters are equal, there’s
a simple way to resolve a chase: If one creature is pursuing another,
both are moving at the same speed, and the chase continues for at
least a few rounds, have them make opposed Dexterity checks to see
who is the faster over those rounds. If the creature being chased wins,
it escapes. If the pursuer wins, it catches the fleeing creature.
Sometimes a chase occurs overland and could last all day, with
the two sides only occasionally getting glimpses of each other at a
distance. In the case of a long chase, an opposed Constitution
check made by all parties determines which can keep pace the
longest. If the creature being chased rolls the highest, it gets away.
If not, the chaser runs down its prey, outlasting it with stamina.
MOVING AROUND IN SQUARES
The characters are all within a corridor only 5 feet wide. A fighter
stands at the end of the corridor, at a dead end. Hes been poisoned
and is dying. The cleric wants to get at the fighter to help, but two
other characters are between them. Thus, theres no way for the cleric
to get next to the fighter and cast neutralize poison. You can rule that its
okay for the cleric to squeeze past the characters who are in the way,
cast the spell, and then move back to where she previously stood.
In general, when the characters arent engaged in round-by-
round combat, they should be able to move anywhere and in any
manner that you can imagine real people could. A 5-foot square,
for instance, can hold several characters; they just cant all fight
effectively in that small space. The rules for movement of minia-
tures are important for combat, but outside combat they can
impose unnecessary hindrances on character activities.
CHAPTER 2:
USING
THE RULES
Table 2–1: Maneuverability
Maneuverability and Example Creature
Perfect Good Average Poor Clumsy
(Will-o’-wisp) (Beholder) (Gargoyle) (Wyvern) (Manticore)
Minimum forward speed None None Half Half Half
Hover Yes Yes No No No
Move backward Yes Yes No No No
Reverse Free –5 ft. No No No
Turn Any 90º/5 ft. 45º/5 ft. 45º/5 ft. 45º/10 ft.
Turn in place Any +90º/–5 ft. +45º/–5 ft. No No
Maximum turn Any Any 90º 45º 45º
Up angle Any Any 60º 45º 45º
Up speed Full Half Half Half Half
Down angle Any Any Any 45º 45º
Down speed Double Double Double Double Double
Between down and up 0 0 5 ft. 10 ft. 20 ft.
BONUS TYPES
Many racial abilities, class features, spells, and magic items offer
bonuses on attack rolls, damage rolls, saving throws, Armor Class,
ability scores, or skill checks. These bonuses are classified by type,
and each type is briefly described below.
Bonuses of different types always stack. So a cloak of resistance +1
(adds a resistance bonus on saving throws) works with a paladins
bonus on saving throws from the divine grace class feature. Iden-
tical types of bonuses do not stack, so a +3 longsword (+3 enhance-
ment bonus for a +3 to attack, +3 to damage) would not be affected
by a magic weapon spell that grants a weapon a +1 enhancement
bonus on attack and damage rolls.
Different named bonus types all stack, but usually a named
bonus does not stack with another bonus of the same name,
except for dodge bonuses and some circumstance bonuses.
Alchemical: An alchemical bonus represents the benefit from
a chemical compound, usually one ingested prior to receiving the
bonus. Antitoxin, for example, provides a +5 alchemical bonus on
Fortitude saving throws against poison.
Armor: This is the bonus that nonmagical armor gives a char-
acter. A spell that gives an armor bonus typically creates an invis-
ible, tangible field of force around the affected character.
Circumstance: This is a bonus or penalty based on situational
factors, which may apply either to a check or the DC for that
check. Circumstance modifiers stack with each other, unless they
arise from essentially the same circumstance.
Competence: When a character has a competence bonus, he
actually gets better at what hes doing, such as with the guidance
spell.
Deflection: A deflection bonus increases a character’s AC by
making attacks veer off, such as with the shield of faith spell.
Dodge: A dodge bonus enhances a characters ability to get out
of the way quickly. Dodge bonuses do stack with other dodge
bonuses. Spells and magic items occasionally grant dodge bonuses.
Enhancement: An enhancement bonus represents an increase
in the strength or effectiveness of a characters armor or weapon,
as with the magic vestment and magic weapon spells, or a general
bonus to an ability score, such as with the cats grace spell.
Inherent: An inherent bonus is a bonus to an ability score that
results from powerful magic, such as a wish spell. A character is
limited to a total inherent bonus of +5 to any ability score.
Insight: An insight bonus makes a character better at what hes
doing because he has an almost precognitive knowledge of factors
pertinent to the activity, as with the true strike spell.
Luck: A luck bonus is a general bonus that represents good for-
tune, such as from the divine favor spell.
Morale: A morale bonus represents the effects of greater hope,
courage, and determination, such as from the bless spell.
Natural Armor: A natural armor bonus is the type of bonus
that many monsters get because of their tough or scaly hides. An
enhancement to natural armor bonus bestowed by a spell (such as
barkskin) indicates that the subject’s skin has become tougher.
Profane: A profane bonus represents the power of evil, such as
granted by the desecrate spell.
Racial: Creatures gain racial bonuses—usually to skill
checks—based on the kind of creature they are. Eagles receive a
+8 racial bonus on Spot checks, for example.
Resistance: A resistance bonus is a general bonus against
magic or harm. Resistance bonuses almost always affect saving
throws.
Sacred: The opposite of a profane bonus, a sacred bonus relates
to the power of good, such as granted by the consecrate spell.
Shield: Much like an armor bonus, a shield bonus to AC repre-
sents the protection a nonmagical shield affords. A spell that gives
a shield bonus usually represents an invisible, tangible shield of
force that moves to protect the character.
Size: When a character gets bigger (such as through the effect
of an enlarge person spell), his Strength increases (as might his Con-
stitution). Thats a size bonus.
COMBAT
The brave party of adventurers smashes through the wooden door
and into an ambush of bloodthirsty hobgoblins with spears and
rusted blades. The trio of knights charges through the forest on
their gallant mounts, their lances plunging into the scaly flesh of
the horrible hydra that waits near the rivers edge. The dragon
takes to the air and chases the elf lord and his retinue, jaws snap-
ping behind them as they run in terror.
Combat is a big part of what makes the D&D game exciting.
There are few better ways to test your mettle against your foes
than in pitched battle. Your most important job as DM is running
combats—making things move quickly and smoothly, and adjudi-
cating what happens during each round of the action.
LINE OF SIGHT
Line of sight establishes whether a particular character can see
something else represented on the grid. When using a grid, draw
an imaginary line (or use a ruler or a piece of string) from the
square the character is in to the object in question. If nothing
blocks this line, the character has line of sight (and can thus see it
to cast a spell on it, target it with a bow, and so forth). If the object
in question is actually another creature, measure line of sight
from the square the character is in to the square that the creature
occupies. If a character can see a portion of a large creature that
occupies more than one square, she can target that creature for a
spell or any other attack.
If line of sight is completely blocked, a character cant cast spells
or use ranged weapons against the target. If it’s partially blocked,
such as by the corner of a building, spells work normally but the
targets AC increases due to the cover.
CHAPTER 2:
USING
THE RULES
BEHIND THE CURTAIN: STACKING BONUSES
Keeping track of the different types of bonuses a character gets from
different sources may seem like a real bother. There are good reasons
to do this, however.
Balance: The main reason to keep track of what stacks and what
doesn’t stack is to keep total bonuses from getting out of hand. If a
character wears a belt of giant Strength, it’s unbalancing to allow the
cleric to cast bull’s strength on her as well and allow both bonuses to
add up. Likewise, a character with mage armor, magic plate armor, a
ring of protection, and a divine favor spell would be unbalanced if all his
bonuses were cumulative. Stacking restrictions keep the game within
manageable limits, while still allowing characters to benefit from
multiple magic items. For instance, note that some of the items from
the previous example—the magic plate armor, the ring, and the divine
favor spell, for example—could work together, because they provide
bonuses of different types.
Consistency and Logic: The system of bonus types provides a way to
make sense out of what can work together and what can’t. At some
point, when adding types of protection together, a reasonable player
realizes that some protections are just redundant. This system logically
portrays how it all makes sense together.
Encouraging Good Play: Categorizing bonuses by type allows play-
ers to put together suites of effects that do work in conjunction in a
consistent manner—encouraging smart play rather than pile-it-on play.
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STARTING AN ENCOUNTER
An encounter can begin in one of three situations.
•One side becomes aware of the other and thus can act first.
Both sides become aware of each other at the same time.
•Some, but not all, creatures on one or
both sides become aware of the
other side.
When you decide that it is
possible for either side to
become aware of the
other, use Spot checks,
Listen checks, sight
ranges, and so on
to determine
which of the
three above
cases
comes into play.
Although its good
to give characters
some chance to
detect a coming
encounter, ultimately its you
who decides when the first
round begins and where each
side is when it does.
One Side Aware First: In
this case, you determine
how much time the aware
side has before the unaware side
can react. Sometimes, the
unaware side has no time to
do anything before the aware
side gets a chance to interact.
If so, the character or party
that is aware gets to take a stan-
dard action before initiative is rolled, while the unaware character
or party does nothing and is caught flat-footed. During this time,
the unaware character or party gains no Dexterity bonus to AC.
After this action, both sides make initiative checks to determine
the order in which the participants act.
Other times, the aware side has a few rounds to prepare. (If its
members see the other side off in the distance, heading their way,
for example.) You should track time in rounds at this point to
determine how much the
aware characters can accom-
plish. Once the two sides come
into contact, the aware characters
can take a standard action while the
unaware characters do nothing. Keep in
mind that if
the aware char-
acters alert the
unaware side before actual contact is
made, then both sides are treated as
aware.
Example (Sudden Awareness): A kobold
sorcerer with darkvision sees a party
of adventurers coming down a long
hallway. He can see the adventurers,
since they’ve got light, but they cant
see him because hes out of the
range of their illumination. The
sorcerer gets a standard action
and casts lightning bolt at the
party. Caught unaware, the
party can do nothing but roll
CHAPTER 2:
USING
THE RULES
VARIANT: ROLL INITIATIVE EACH ROUND
Some players find combat more fun if they get to roll initiative every
round rather than rolling once at the beginning of the encounter.
Rather than determining a sequence of actions for each round at the
beginning of an encounter, the players and DM reroll for all combat-
ants, determining a different sequence at the start of each new round.
The goal is to give the combat a feeling of shifting variability.
Ultimately, this variant rule doesn’t change things much. You’ll find
that it slows down play, because a new sequence of activity will need
to be determined each round—more die rolling, more calculation,
more organizing time. It doesn’t change spell durations, or how vari-
ous combat actions work. Effects that last until the character’s next
action still operate that way. The difference is that it’s possible for
someone to take an action at the end of one round (such as a charge
attack) that puts him at a penalty until his next action, and then to roll
well in the next round so that he goes first and the penalty has no
effect. This means that sometimes it can be beneficial to roll low for
initiative in a round.
And consider this case: A wizard wants to cast a spell unhindered by
the oncoming monk who rushes toward him. He knows that if the
monk reaches him, it will be difficult to cast a spell without drawing an
attack of opportunity from her. He thinks to himself that his actions
will depend on whether he wins initiative in this round (you need to
keep this sort of change in approach in mind if you use this variant).
Meanwhile, the monk wants to reach the wizard and use her stunning
attack to keep him from casting spells. They roll initiative, and the
wizard wins, casting a spell on the monk (but the monk saves and isn’t
affected). The monk runs forward and stuns the wizard, a condition
that lasts until the monk’s next action. In the next round, the monk
wins initiative again, and attacks but misses. Now the wizard casts
another spell—but because he lost initiative in this round, and acted
after the monk’s action, the fact that he was stunned hardly hindered
him at all.
If you roll initiative each round, taking a readied action later in the
same round or delaying an action until later in the same round gives
you a cumulative –2 penalty on later initiative rolls. (The first time you
do this causes a –2 penalty; if you take a readied action later in the
same round or delay an action until later in the same round again
during the current combat, the penalty becomes –4, and so on.) Taking
a readied action in the next round or delaying until the next round
carries no penalty, but you get no other action that round.
Even if you normally use a single set of initiative rolls for the whole
combat, some turn of events could make it worthwhile to reroll initia-
tive. For example, the PCs are fighting a drow wizard using greater invis-
ibility. It’s a climactic encounter with the survival of the party hinging
on it. The drow, on his turn, walks within 30 feet of Jozan, who has cast
invisibility purge. Suddenly, the drow is visible. Under normal initiative
rules, whoever happens to act next would be able to attack the newly
visible drow. Aside from game mechanics, there’s no good reason to
let that character act first. Additionally, everyone else will get one turn
before the drow gets to act again. Instead of following the previous
order, you can call for everyone—the drow included—to roll initiative
again to see how fast each character reacts to the new condition (the
drow becoming visible).
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saving throws. Once the damage from the spell is assessed, both
sides roll initiative.
Example (Time to Prepare): Jozan the cleric hears the sounds of
creatures moving beyond a door in a dungeon. He also hears some
voices, and determines
that the creatures are
speaking Orc. He fig-
ures that they dont
know hes there. He
takes the time to cast bless and
shield of faith on himself
before opening the door
and using a standard action
to cast hold person on the
first foe he sees. He can cast
the hold person spell before
anyone makes an initiative check,
unless the orcs heard him casting
bless or shield of faith in the previous 2
rounds, in which case they become
aware, Jozan doesnt get the action that
enabled him to cast hold person, and hed
better hope he gets the higher result on his
initiative check.
Both Sides Aware at the Same
Time: If both sides are aware at
the same time and can interact,
both should roll initiative and
resolve actions normally.
If each side becomes
aware of the other but cannot
interact immediately, track time in rounds,
giving both sides the same amount of time
in full rounds, until the two sides can
begin to interact.
Example (Both Aware and Can Interact
Immediately): A party of adventurers burst
into a dungeon room full of orcs, and neither
knew of the other ahead of time. All are equally surprised and
equally flat-footed. Initiative is rolled, reflecting that those charac-
ters with better reflexes act quicker in such situations.
Example (Both Aware but Cannot Interact Immediately): A party of
adventurers comes along a dungeon corridor and hears the
laughter of orcs beyond the door ahead. Meanwhile, the orc
lookout sees the adventures through a peephole in the door and
warns his comrades. The door is closed, so no direct interaction
is possible yet. Jozan casts bless. Lidda drinks a potion. Tordek and
Mialee move up to the door. At the same time, the orcs move into
position, and one uses a ring of invisibility to hide. The DM
records the passage of 1 round. The adventurers arrange them-
selves around the door and make a quick plan. The orcs turn over
tables and nock arrows in their shortbows. The DM tracks
another round. The fighter opens the door, and the DM calls for
an initiative check from all. The third round begins, this time
with the order of actions being important (and dictated by the
initiative check results).
Some Creatures on One or Both Sides Aware: In this case,
only the creatures that are aware can act. These creatures can take
standard actions before the main action starts.
Example: Lidda is scouting ahead. She and a gargoyle spot each
other simultaneously, but the rest of Liddas party doesnt see the
monster (though they are close enough to hear any fighting that
erupts). Lidda and the gargoyle each get standard actions, and then
normal combat starts. Lidda and the gargoyle roll initiative
before taking their actions, and everyone else rolls ini-
tiative after those actions are concluded.
The Surprise Round
When only one side is aware of the other, the DM runs the first
round of combat as a surprise round. In this round, each charac-
ter gets only a standard action. Only those aware of the other side
can take any action at all. This rule reflects the fact that even
when a combatant is prepared, some amount of time is spent
assessing the situation, and thus only standard actions are
allowed to begin with.
This rule makes initiative have less of an impact, since it is in
the first round when initiative matters most. Even if a warrior gets
the jump on an opponent, at best he can make a single attack
against a foe before that foe can react.
NEW COMBATANTS
The adventurers are fighting for their lives against a group of trolls
intent on throwing them into a dank pit to feed to the dragon that
CHAPTER 2:
USING
THE RULES
VARIANT: SAPIENT MOUNTS
A paladin’s mount is as smart as some characters. Giant eagles, giant
owls, and pegasi are all highly intelligent. When such creatures are part
of the action, you have two choices.
•You can force the mount to act on its rider’s initiative, just like
mounts of animal intelligence. This means that mount and rider act,
essentially, simultaneously.
•You can ask the player to make a separate initiative check for the
mount. This means the mount moves and attacks at its own place in
the initiative order, reinforcing its nature as a separate character.
However, that may be extremely inconvenient for a rider who is
carried away from her opponent! In such cases, of course, the rider
can always delay to synchronize her initiative check result with her
mount’s. Likewise, the mount may choose to delay to coincide its
movement with its rider’s.
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controls this part of the dungeon. Suddenly, in the middle of the
fight, a strike team of dwarves wanders into the room where the
battle rages. If, in the course of a battle between two sides, some
third group enters the battle, they should come into the action in
between rounds. The following rules apply to this situation,
whether or not the new group is allied with one or more existing
side involved in the encounter.
Newcomers Are Aware: If any (or all) of the newcomers are
aware of one or both of the sides in a battle, they take their actions
before anyone else. In effect, they go first in the initiative se-
quence. Their initiative check result is considered to be 1 higher
than the highest initiative check result among the other partici-
pants in the encounter. If differentiation is needed for the actions
of the newcomers, they act in order of their Dexterity scores, high-
est to lowest. The reason for this rule is twofold.
•Since they’re aware, but theres no way to get an action ahead of
everyone else (because the encounter has already started), they
go first to simulate their advantage. This happens whether the
other sides are aware of the new side or not.
•Placing the newcomers at the beginning of the round means
that those who had the highest initiative check results prior to
their arrival are the first characters to have an opportunity to
react to them. This is an important advantage for characters
with high places in the initiative order.
Newcomers Not Aware: If any or all of the newcomers are not
aware of the other sides when they enter the encounter (for
example, the PCs stumble unaware into a fight between two mon-
sters in a dungeon), the newcomers still come into play at the
beginning of the round, but they roll initiative normally. If one of
the other characters involved in the encounter has a higher initia-
tive check result than one or more of the newcomers, that charac-
ter can react to those newcomers before they get a chance to act
(the newcomers are caught flat-footed).
If more than one new group enters an existing encounter at the
same time, you must first decide if they are aware of the
encounter. Those that are unaware, “stumbling in,” roll initiative.
Those that are aware act first in the round, in the order of their
Dexterity scores, even if they are not in the same group.
Example: A group of powerful adventurers fights a naga in a
dungeon room. The naga rolled badly for initiative, and all the ad-
venturers act before it. Between rounds three and four of that bat-
tle, three orcs on a random patrol stumble in. At the same time,
two more nagas arrive, having been alerted by the sounds of the
battle. At the beginning of round four, the two new nagas act in
the order of their Dexterity scores. Then the orcs roll for initiative,
and the results of their rolls are placed within the normal initiative
order for the battle. In this case, poor check results place them
dead last, even after the original naga.
Then the adventurers act, able to react either to the flat-footed
orcs or to the new naga reinforcements. Then the original naga
acts, followed by the orcs (who probably flee from this battle,
which is clearly out of their league). This same sequence is used
for subsequent rounds of the battle.
KEEPING THINGS MOVING
Initiative dictates the flow of who goes when. It is the tool that the
game uses to keep things moving, but ultimately it’s you who
needs to make sure that happens. Encourage the players to be
ready with their actions when each one’s turn comes up. Players
have less fun if they spend a lot of time sitting at the table waiting
for someone else to decide what to do.
Some resourceful players will learn tricks to help you move
things along. When attacking, they roll attack and damage dice at
once, so that if successful, they can tell you the damage that they
deal immediately. If they know that their next action will require
a die roll, they’ll roll it ahead of time, so that when you ask them
what they’re going to do, they can tell you immediately. (“I attack
with my battleaxe and hit AC 14. If thats good enough, I deal 9
points of damage.”) Some DMs like to have players make each roll
separately, so you’ll have to decide for yourself whether you allow
prerolling.
One useful thing you can do is to write down the initiative se-
quence once it’s determined for a given encounter. If you place
this information where all the players can see it, each will know
when his characters turn is coming and hopefully will be ready to
tell you his action when it comes time for him to act. Dont write
down the NPCs’ places in the initiative sequence, at least not until
they have acted once—the players shouldnt know whos going to
act before the enemies and who will act after. It’s too easy to plan
actions around when their opponents act.
Simultaneous Activity
When you play out a combat scene or some other activity for
which time is measured in rounds, it can be important to remem-
ber that all the PCs’ and NPCs’ actions are occurring simultane-
ously. For instance, in one 6-second round, Mialee might be trying
to cast a spell at the same time that Lidda is moving in to make a
sneak attack.
However, when everyone at the table plays out a combat round,
each individual acts in turn according to the initiative count for
his character. Obviously, this is necessary, because if every indi-
vidual took his turn at the same time, mass confusion would
result. However, this sequential order of play can occasionally lead
to situations when something significant happens to a character at
the end of his turn but before other characters have acted in the
same round.
For instance, suppose Tordek hustles 15 feet ahead of his
friends down a corridor, turns a corner, and hustles another 10
feet down a branching corridor, only to trigger a trap at the end of
his turn. In order to maintain the appearance of simultaneous
activity, you’re within your rights to rule that Tordek doesnt trig-
ger the trap until the end of the round. After all, it takes him some
time to get down the corridor, and in an actual real-time situation
the other characters who have yet to act in the round would be
taking their actions during this same time.
CHAPTER 2:
USING
THE RULES
VARIANT: STRIKING THE COVER
INSTEAD OF A MISSED TARGET
In ranged combat against a target that has cover, it may be impor-
tant to know whether the cover was actually struck by an incoming
attack that misses the intended target. First, determine if the attack
roll would have hit the protected target without the cover. If the
attack roll falls within a range low enough to miss the target with
cover but high enough to strike the target if there had been no
cover, the object used for cover was struck. If a creature is provid-
ing cover for another character and the attack roll exceeds the AC of
the covering creature, the covering creature takes the damage
intended for the target.
If the covering creature has a Dexterity bonus to AC or a dodge
bonus, and this bonus keeps the covering creature from being hit, then
the original target is hit instead. The covering creature has dodged out
of the way and didn’t provide cover after all. A covering creature can
choose not to apply his Dexterity bonus to AC and/or his dodge bonus,
if his intent is to try to take the damage in order to keep the covered
character from being hit.
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COMBAT ACTIONS
A troll with a longspear mounted on a purple worm can reach
opponents 4 squares away. Surrounded by enemies, it can guide its
mount’s attacks against the same foe that it attacks, hoping to take
him out of the combat entirely, or it can attack one foe and encour-
age the worm to bite (and try to swallow) another while it stings a
third enemy with its venomous tail. Combat can be a tactical game
in and of itself, filled with good and bad decisions.
You need to play each NPC appropriately. A combat-savvy fight-
er with a fair Intelligence score isnt going to allow his opponents
to get attacks of opportunity unless he has to, but a stupid goblin
might. A phase spider with an Intelligence of 7 might figure that
phasing in behind the dexterous wizard he’s fighting is the best
course of action (since the wizard blasted him with a magic missile
spell last round), but an ankheg (Intelligence 1) might not know
which character is the biggest threat.
Adjudicating Actions Not Covered
While the combat actions defined in the Players Handbook are
numerous and fairly comprehensive, they cannot begin to cover
every possible action that a character might want to take. Your job
is to make up rules on the spot to handle such things. In general,
use the rules for combat actions as guidelines, and apply ability
checks, skill checks, and (rarely) saving throws when they are
appropriate.
The following are a few examples of ad hoc rules decisions.
•Reinforcements show up to help the bugbears that the adven-
turers are fighting. Tordek can hear these newcomers attempt-
ing to open the door to get in. He races to the door and tries to
hold it shut while the others finish off the foes in the room. If
it were a normal door, you might call for an opposed Strength
check between Tordek and the bugbears pushing on the door.
Since the door is already stuck, however, you decide that the
bugbears must first push it open and then (if they succeed)
make an opposed check against Tordek.
•A monk wants to jump up, grab a chandelier, and swing on it
into an enemy. You rule that a DC 13 Dexterity check allows the
monk to grab the chandelier and swing. The player asks if the
monk can use his Tumble skill, and you let him. Ruling that the
swing is somewhat like a charge, you give the monk a +2 bonus
on the roll to see if his dramatic swinging attack succeeds.
•A sorcerer readies a spell so that he casts it as soon as he sees a
beholders small eyes shoot rays. (He decides this is the best way
for him to determine whether the beholders antimagic ray is
currently active.) That means, however, that the rays need to
have actually fired before the spell is cast (the spell cant go
before the rays in this case). Still, the sorcerer needs to know if
he gets his spell cast before hes struck by the dangerous rays.
You rule that if the sorcerer can beat the beholder in an opposed
check, he can get the spell off. The sorcerer makes a Wisdom
check, and the beholder opposes that with a Dexterity check.
Combat Actions outside Combat
As a general rule, combat actions should only be performed in
combat—when you’re keeping track of rounds and the players are
acting in initiative order. You’ll find obvious exceptions to this
rule. For example, a cleric doesnt need to roll initiative to cast cure
light wounds on a friend after the battles over. Spellcasting and skill
use are often used outside combat, and that’s fine. Attacks, readied
actions, charges, and other actions are meant to simulate combat,
however, and are best used within the round structure.
Consider the following situation: Outside combat, Lidda de-
cides to pull a mysterious lever that she has found in a dungeon
room. Mialee, standing right next to her, thinks that Liddas sud-
den plan is a bad one. Mialee tries to stop Lidda. The best way to
handle this situation is by using the combat rules as presented.
Lidda and Mialee roll initiative. If Lidda wins, she pulls the lever.
If Mialee wins, she grabs Lidda, requiring a melee touch attack (as
if starting a grapple). If Mialee hits, Lidda needs to determine
whether or not she resists. (Since Mialee is a good friend, grabbing
Liddas arm might be enough to make her stop.) If Lidda keeps
trying to pull the lever, use the grapple rules to determine
whether Mialee can hold Lidda back.
Adjudicating the Ready Action
The ready action is particularly open-ended and requires that you
make the players using it be as specific as possible about what
their characters are doing. If a character readies a spell so that it
will be cast when a foe comes at her, the player needs to specify
the exact spell—and you’re justified in making the player identify
a specific foe, either one that the character is currently aware of or
one that might come at her from a certain direction.
If a character specifies a readied action and then decides not to
perform the action when the conditions are met, the standard rule
is that the character can keep his action readied. Because combat is
often confusing and fast, however, you’re within your rights to
CHAPTER 2:
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THE RULES
VARIANT: AUTOMATIC HITS AND MISSES
The Player’s Handbook says that an attack roll of natural 1 (the d20
comes up 1) is always a miss. A natural 20 (the d20 comes up 20) is
always a hit.
This rule means that the lowliest kobold can strike the most
magically protected, armored, dexterous character on a roll of 20.
It also means that regardless of a warrior’s training, experience,
and magical assistance, he still misses a given foe at least 5% of
the time.
A different way to handle this is to say that a natural 1 is treated as
a roll of –10. Someone with an attack bonus of +6 nets a –4 result,
which can’t hit anything. Someone with a +23 attack bonus rolling a 1
would hit AC 13 or lower. At the other extreme, a natural 20 is treated
as a roll of 30. Even someone with a –2 attack penalty would hit AC 28
with such a roll.
VARIANT: DEFENSE ROLL
More randomness can sometimes eliminate the foregone conclusion
of a high-level character who always hits, or a low-level one who never
has a chance. A good way to introduce this randomness is to allow (or
force) characters to make defense rolls. Every time a character is
attacked, rather than just using his never-changing, static AC, he
makes a d20 roll and adds it to all his AC modifiers. Every attack
becomes an opposed roll, with attacker and defender matching their
modified rolls against one another. (One way to look at it is that with-
out the defense roll, characters are “taking 10” on the roll each round,
and thus are using a base of 10 for Armor Class.)
The defense roll can be expressed like this:
1d20 + (AC – 10)
For example, a paladin attacks an evil fighter. The paladin rolls a 13 and
adds his attack bonus of +10 for a result of 23. The fighter makes his
defense roll and gets a 9. He adds his defensive bonuses (all the things
that modify AC, including armor), which amount to +11. The fighter’s
result is 20, less than 23, so the paladin hits.
This variant rule really comes in handy at high levels, where high-
level fighters always hit with their primary attacks, and other characters
rarely do. Unfortunately, it can slow down play, almost doubling the
number of rolls in any given combat. A compromise might be to have
each defender make a defense roll once in a round, using that same
total for all attacks made against him in that round.
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make it a little harder on the character who readies an action and
doesnt take that action when the opportunity presents itself. You
have two options.
Allow the character to forgo the action at the expense of losing
the readied action.
Allow the character to attempt a DC 15 Wisdom check to avoid
taking the readied action. Thus, if a character covers a door with
a crossbow, he can make a Wisdom check to keep from firing
the crossbow when his friend comes through the door. A
successful check means that he doesnt fire at his friend, and is
still ready to shoot the ghoul chasing the friend. A failure
means he completes the action he readied and shoots the first
creature through the door—his friend.
Smart players are going to learn that being specific is often bet-
ter than making a general statement. If a character is covering a
door with a crossbow, he might say, “I shoot the first enemy that
comes through the door.” Although players can benefit from
being specific, you should decide if a certain set of conditions is
too specific. “I cover the door with my crossbow so that I shoot the
first unwounded ghoul that comes through” might be too specific,
because its not necessarily easy to tell an unwounded ghoul from
a wounded one, especially when the judgment must be made in an
instant. Ultimately, its your call.
Don’t allow players to use the ready action outside combat.
While the above examples are all acceptable in the middle of an
encounter, a player cannot use the ready action to cover a door
with his crossbow outside combat. Its okay for a player to state
that hes covering the door, but what that means is that if some-
thing comes through the door he’s unlikely to be caught unaware.
If the character coming through the door wasnt aware of him, he
gets an extra standard action because he surprised the other char-
acter, and so he can shoot the weapon. Otherwise, he still needs to
roll initiative for his character normally.
ATTACK ROLLS
Rolling a d20 to see if an attack hits is the bread and butter of com-
bat encounters. Its almost certainly the most common die roll in
any campaign. Because of that, these rolls run the risk of becom-
ing boring. When a roll as exciting and important as one that
determines success or failure in combat becomes dull, you’ve got
to do something about it.
Attack rolls can be boring if a player thinks that hitting is a fore-
gone conclusion or that his character has no chance to hit. One
way that the rules address this potential problem is by providing
decreasing attack bonuses for multiple attacks. Even if a charac-
ters primary attack always hits whatever he fights, that’s not true
of his secondary or tertiary attacks.
One thing that can keep attack rolls from becoming humdrum
is good visual description. It’s not just “a hit,” it’s a slice across the
dragons neck, bringing forth a gout of foul, draconic ichor. See
below for more advice on description.
Critical Hits
When someone gets a 20 on an attack roll, you should be sure to
point out that this is a threat, not a critical hit. Calling it a critical
hit raises expectations that might be dashed by the actual critical
roll. When a critical hit is achieved, a vital spot on the creature was
hit. This is an opportunity for you to give the players some vivid
description to keep the excitement high: “The mace blow hits the
orc squarely on the side of the head. He lets out a groan, and his
knees buckle from the impact.
Certain creatures are immune to critical hits because they do
not have vital organs, points of weakness, or differentiation from
one portion of the body to another. A stone golem is a solid,
human-shaped mass of rock. A ghost is all insubstantial vapor. A
gray ooze has no front, no back, and no middle.
DAMAGE
Since combat is a big part of the game, handling damage is a big
part of being the DM.
Nonlethal Damage
When running a combat, make sure that you describe non-
lethal and lethal damage differently. The distinction should
be clear—both in the players’ imaginations and on their char-
acter sheets.
Use nonlethal damage to your advantage. It is an invaluable tool
if your adventure plans involve the PCs’ capture or defeat, but you
dont want to risk killing them. However, if the PCs’ opponents are
dealing nonlethal damage more often than not, the players begin
to lose any feeling of their characters being threatened. Use non-
lethal damage sparingly, but to good effect.
Players, in general, hate for their characters to be captured.
When your NPCs start dealing nonlethal damage to the charac-
ters, the players may actually get more worried than if they were
taking lethal damage!
CHAPTER 2:
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THE RULES
BEHIND THE CURTAIN: CRITICAL HITS
Critical hits are in the game to add moments of particular excitement.
Critical hits, however, are deadly. The PCs, over the course of a single
game session, let alone a campaign, are subject to many more attack
rolls than any given NPC. That makes sense, since the PCs are in every
battle, and most NPCs are in just one (the one in which the PCs defeat
them, usually). Thus, more critical hits are going to be dealt upon any
single PC than any single NPC (and the NPC was probably not going
to survive the encounter anyway). Any given PC is more likely to survive
an encounter—but a critical hit against the character can change all
that. Be aware of this potential, and decide how you want to deal with
it ahead of time.
The reason that critical hits multiply all damage, rather than just the
die roll, is so that they remain significant at high levels. When a high-
level fighter adds +5 to his damage roll from magic and +10 from his
magically enhanced strength, the result of the 1d8 damage roll from
his longsword becomes trivial, even if doubled by a critical hit.
Multiplying all damage, the roll and the bonuses, makes critical hits
particularly dangerous. In fact, they can completely determine the
course of a battle if one or two are dealt. That’s why they make the
game both more interesting and more uncontrollable.
Remember, a critical hit feels like a lot of damage, but the difference
between a double-damage critical hit and a normal hit is no greater
than the difference between a miss and a hit. Taking a triple-damage
critical hit, however, is like getting hit an extra two times, and taking a
quadruple-damage critical hit is like getting hit an extra three times.
The weapons in the Player’s Handbook are balanced with the follow-
ing idea in mind: Good weapons that deal triple-damage critical hits do
so only on a 20. Good weapons that deal double-damage critical hits
do so on a 19–20. Axes are big and heavy. They’re somewhat difficult
to use efficiently, but when one does, the effect is devastating. An
executioner uses an axe for this reason. Swords, on the other hand, are
more precise—sword wielders get in decisive strikes more often, but
they’re not as crushing as those dealt by axes. A few other factors are
considered as well (reach, the ability to use a weapon as a ranged
weapon, and more), but for the most part, this is the basic rule of
thumb. Thus, it would be a mistake to add to the weapon list some
new weapon that dealt triple-damage critical hits on a 19–20. (Results
such as this might be possible through magic or feats, but should not
be a basic quality of any weapon.)
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CHAPTER 2:
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VARIANT: CLOBBERED
Ultimately, damage doesn’t matter until a character is unconscious or
dead. It has no effect while she’s up and fighting. It’s easy to imagine,
however, that she could be hit so hard that she’s clobbered, but not
knocked unconscious or dead.
Using this variant, if a character takes half her current hit points in
damage from a single blow, she is clobbered. On her next turn, she
can take only a standard action, and after that turn she is no longer
clobbered.
This variant will often lead to slightly faster fights, since taking
damage would somewhat reduce the ability to deal damage. It
would also increase randomness by increasing the significance of
dealing substantial but less than lethal damage. It would also
make hit points more important; clerics would want to cure fight-
ers long before fighters are at risk of dying, because they might be
at risk of being clobbered. Finally, it may be easier for a superior
combatant to get unlucky. That fact could hurt PCs more than
NPCs in the long run.
VARIANT:
MASSIVE DAMAGE BASED ON SIZE
If a creature takes 50 points of damage or more from a single attack,
she must make a Fortitude save or die. This rule exists primarily as a
nod toward realism in the abstract system of hit point loss. As an extra
touch of realism, you can vary the massive damage threshold by size,
so that each size category larger or smaller than Medium raises or
lowers the threshold by 10 hit points. This variant hurts halfling and
gnome PCs, familiars, and some animal companions. It generally
favors monsters.
Size F D T S M L H G C
Damage 10 20 30 40 50 60 70 80 90
VARIANT: DAMAGE TO SPECIFIC AREAS
Sometimes, despite the abstract nature of combat, you’re going to
want to apply damage to specific parts of the body, such as when a
character’s hands are thrust into flames, when he steps on caltrops, or
when he peeks through a hole in the wall and someone shoots an
arrow into the hole from the other side. (This situation comes up most
frequently with devious traps meant to chop at feet, smash fingers, or
the like.)
When a specific body part takes damage, you can apply a –2
penalty to any action that the character undertakes using that
portion of his body. For example, if a character’s fingers get slashed,
he makes attacks rolls with a weapon in that hand at –2 and he takes
a –2 penalty on skill checks involving the use of his hands. If a char-
acter steps on a caltrop, he takes a –2 penalty on skill checks involv-
ing the use of his feet (in addition to the effects described in the
Player’s Handbook).
Chapter 8 of this book defines some effects of damage to specific
body parts, such as what happens when a character is blinded or deaf-
ened. In addition to that information, use the table below as a guide to
what rolls are modified by injuries to what body parts.
This penalty lasts until the character heals, either magically or by
resting. For a minor wound, such as stepping on a caltrop, a DC 15
Heal check, 1 point of magical healing, or a day of rest removes the
penalties.
You can allow a character to make a Fortitude save (DC 10 +
damage taken) to “tough it out” and ignore the penalty. Also, these
penalties shouldn’t stack—two hand injuries should not impose a
–4 penalty.
Location Damage Affects:
Hand Climb, Craft, Disable Device, Escape Artist, Forgery, Heal,
Open Lock, Sleight of Hand, and Use Rope checks; attack
rolls.
Arm Climb and Swim checks; attack rolls; Strength checks.
Head All attack rolls, saves, and checks.
One eye Appraise, Craft, Decipher Script, Disable Device, Forgery,
Open Lock, Search, Sense Motive, Spellcraft, and Spot
checks; Survival checks (for tracking); initiative checks;
Dexterity checks; ranged attack rolls; Reflex saving throws.
Severe damage to both eyes causes a character to become
blinded.
One ear Listen checks; initiative checks. Severe damage to both ears
causes a character to become deafened.
Foot/Leg Balance, Climb, Jump, Move Silently, Ride, Swim, and
Tumble checks; Reflex saving throws; Dexterity checks.
VARIANT: WEAPON EQUIVALENCIES
The party slays a drider armed with magic short swords. The party’s
halfling rogue is delighted. Even the party’s human ranger wants one
of the swords. As DM, you gently remind them that while they are short
swords, they are Large weapons (see Weapon Categories on page 112
of the Player’s Handbook). The human ranger can use one of them as
a one-handed weapon at a –2 penalty, and the halfling rogue can use
one as a two-handed weapon at a –4 penalty.
The rules on weapon categories are based on the idea that most
weapons do not look like smaller or larger versions of other weapons,
nor are they used in the same fashion. The shape of a longsword
reflects its primary use; it is not simply a big dagger. This variant
suggests weapon equivalencies for DMs who wish to offer their play-
ers more utility from monster weapons. If a weapon has an equiva-
lent, a character proficient in the equivalent can use the weapon with
no penalty.
On the table below, find the Medium weapon in question in the left
column and then read across to the size of the creature in question.
For instance, a Medium battleaxe is equivalent in this system to a
Large handaxe. Alternatively, find the size of the wielder and read down
the column until you find its weapon. The weapon column then shows
what is equivalent for a Medium character. For example, a Large battle-
axe is equivalent in this system to a Medium greataxe.
Weapon Equivalencies
Medium ———— Size of Equivalent Weapon ————
Weapon Tiny Small Large
Battleaxe Greataxe Handaxe
Club Greatclub Sap*
Dagger Longsword Short sword
Dart Spear Shortspear —
Flail, heavy Flail, light
Flail, light Flail, heavy
Greataxe — Battleaxe
Greatclub — Club
Greatsword — Longsword
Handaxe Greataxe Battleaxe
Longsword Greatsword Shortsword
Mace, heavy Mace, light
Mace, light Mace, heavy
Pick, heavy Pick, light
Pick, light Pick, heavy
Shortspear — Spear Dart
Short sword Greatsword Longsword Dagger
Spear — Shortspear
* A sap deals nonlethal damage.
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You can rule that certain damaging effects deal nonlethal
damage when it seems appropriate. For example, a variant rule
given in Chapter 8 (page 303) states that you can make the first
1d6 of falling damage nonlethal damage. You can do so on a case-
by-case basis if you wish. If a villager throws a rock at a knight,
that also might be nonlethal damage. Certain types of damage,
however, should never be nonlethal damage—puncturing
wounds and most damage from energy attacks, such as fire.
EFFECT OF WEAPON SIZE
When weapons change size, many other factors change at the
same time. The Players Handbook discusses the effect of size on
weight and cost. According to Weapon Qualities on page 114 of
that book, costs given are for Small and Medium versions of the
weapons. Large versions cost twice as much. The same section says
to halve the given weight for Small versions, and double it for
Large versions.
To calculate the damage a larger- or smaller-than-normal
weapon deals, first determine how many size categories it changes
from Medium. A longsword (normally Medium, commonly used
by Medium beings) in the hand of a Huge cloud giant increases
two size categories. For each category change, consult the accom-
panying tables, finding the weapons original damage in the left
column and reading across to the right to find its new damage.
Table 2–2: Increasing Weapon Damage by Size
Medium Number of Size Categories Increased
Damage One Two Three Four
1d2 1d3 1d4 1d6 1d8
1d3 1d4 1d6 1d8 2d6
1d4 1d6 1d8 2d6 3d6
1d6 1d8 2d6 3d6 4d6
1d8 2d6 3d6 4d6 6d6
1d10 2d8 3d8 4d8 6d8
1d12 3d6 4d6 6d6 8d6
2d4 2d6 3d6 4d6 6d6
2d6 3d6 4d6 6d6 8d6
2d8 3d8 4d8 6d8 8d8
2d10 4d8 6d8 8d8 12d8
Table 2–3: Decreasing Weapon Damage by Size
Medium Number of Size Categories Decreased
Damage One Two Three Four
1d2 1 — —
1d3 1d2 1 — —
1d4 1d3 1d2 1
1d6 1d4 1d3 1d2 1
1d8 1d6 1d4 1d3 1d2
1d10 1d8 1d6 1d4 1d3
1d12 1d10 1d8 1d6 1d4
2d4 1d6 1d4 1d3 1d2
2d6 1d10 1d8 1d6 1d4
2d8 2d6 1d10 1d8 1d6
2d10 2d8 2d6 1d10 1d8
A weapon can only decrease in size so far. Weapons that deal less
than 1 point of damage have no effect. Once a weapon only deals 1
point of damage, it’s not a weapon if it shrinks further.
SPLASH WEAPONS
A splash weapon is a ranged weapon that breaks apart on impact,
splashing or scattering its contents over its target and nearby crea-
tures or objects. Most splash weapons consist of liquids, such as
acid or holy water, in breakable vials such as glass flasks. Attacks
with splash weapons are ranged touch attacks. Attacking with
splash weapons is covered on page 158 of the Players Handbook.
Refer to pages 128 and 129 of the Players Handbook for specifics
of certain splash weapons.
AREA SPELLS
Spells that affect an area are not targeted on a single creature,
but on a volume of space, and thus must fit into the grid in order
for you to adjudicate who is affected and who is not. Realize
ahead of time that you will have to make ad hoc rulings when
applying areas to the grid. Use the visual aids on pages 305-307
and the following information as guidelines.
Bursts and Emanations: To employ the spell using a grid, the
caster needs to designate an intersection of two lines on the grid as
the center of the effect. From that intersection, it’s easy to measure
a radius using the scale on the grid. If you were to draw a circle
using the measurements on the grid, with the chosen intersection
CHAPTER 2:
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THE RULES
VARIANT: INSTANT KILL
When you or a player rolls a natural 20 on an attack roll, a critical roll
is made to see if a critical hit is scored. If that critical roll is also a 20,
that’s considered a threat for an instant kill. Now a third roll, an instant
kill roll, is made. If that roll scores a hit on the target in question (just
like a normal critical roll after a threat), the target is instantly slain.
Creatures immune to critical hits are also immune to instant kills.
The instant kill variant only applies to natural 20s, regardless of the
threat range for a combatant or weapon. (Otherwise weapons, feats,
and magical powers that improve threat ranges would be much more
powerful than they are intended to be.)
The instant kill variant makes a game more lethal and combat more
random. In any contest, an increase in randomness improves the odds
for the underdog. Since the PCs win most fights, a rule that makes
combat more random hurts the PCs more than it hurts their enemies.
VARIANT: SOFTER CRITICAL HITS
Instead of making critical hits more lethal, you can make them less
lethal. Do so by reducing each weapon’s threat range one step.
Weapons with a threat range of 20 and a ×2 multiplier deal no critical
hits at all.
Standard Softer Standard Softer
Threat Range Threat Range Multiplier Multiplier
20 — ×2—
19–20 20 ×3×2
18–20 19–20 ×4×3
This variant makes feats and magical powers that improve threat
ranges less valuable, it slightly decreases the value of a monster’s
immunity to critical hits, and it reduces randomness in combat.
VARIANT: CRITICAL MISSES (FUMBLES)
If you want to model the chance that in combat a character could
fumble his weapon, then when a player rolls a 1 on his attack roll, have
him make a DC 10 Dexterity check. If he fails, his character fumbles. You
need to decide what it means to fumble, but in general, that character
should probably lose a turn of activity as he regains his balance, picks
up a dropped weapon, clears his head, steadies himself, or whatever.
Fumbles are not appropriate to all games. They can add excitement
or interest to combat, but they can also detract from the fun. They
certainly add more randomness to combat. Add this variant rule only
after careful consideration.
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at the center, then if the majority of a grid square lies within that
circle, the square is a part of the spell’s area.
Cones: Determining the area of a cone spell requires that the
caster declare a direction and an intersection where the cone
starts. From there, the cone expands in a quarter circle.
Miscellaneous: Using the rules given above, apply areas to the
grid as well as you can. Remember to maintain a consistent num-
ber of affected squares in areas that differ on the diagonal.
BIG AND LITTLE CREATURES IN COMBAT
Creatures smaller than Small or larger than Medium have special
rules relating to position. These rules concern the creatures’
“faces,” or sides, and their reach.
Table 2–4: Creature Sizes summarizes the characteristics of
each of the nine size categories. The Max. Height and Max. Weight
columns are guidelines, not firm limits; for instance, almost all
Medium creatures weigh between 60 and 500 pounds, but excep-
tions can exist. The figures in the Space and Natural Reach
columns are explained below.
Space: Space is the width of the square a creature needs to
fight without penalties (see Squeezing Through, below). This
width determines how many creatures can fight side by side in a
10-foot-wide corridor, and how many opponents can attack a
creature at the same time. A creatures space does not have a front,
back, left, or right side, because combatants are constantly
moving and turning in battle. Unless a creature is immobile, it
effectively doesn’t have a front or a left sideat least not one you
can locate on the tabletop.
Natural Reach: Natural reach is how far a creature can reach
when it fights. The creature threatens the area within that distance
from itself. Remember that when measuring diagonally, every
second square counts as 2 squares. The exception is a creature with
10-foot reach. It threatens targets up to 2 squares away, including a
2-square distance diagonally away from its square. (This is an
exception to the rule that 2 squares of diagonal distance is meas-
ured as 15 feet.)
As a general rule, consider creatures to be as tall as their space,
meaning that a creature can reach up a distance equal to its space
plus its reach.
Big Creatures
Large or larger creatures with reach weapons can strike out to
double their natural reach but cant use their weapons at their nat-
ural reach or less.
A creature may move through an occupied square if it is three
size categories or more larger than the occupant.
Very Small Creatures
Tiny, Diminutive, and Fine creatures have no natural reach. They
must enter an opponents square (and thus be subject to an attack
of opportunity) in order to attack that opponent in melee
unless they are armed with weapons that give them at least 5 feet
of reach.
Because Tiny, Diminutive, and Fine creatures have no natural
reach, they do not normally get attacks of opportunity. Specific
creatures may be exceptions, and some may carry reach weapons
that do threaten adjacent squares.
Mixing It Up
Two creatures less than two size categories apart cannot occupy
the same spaces in combat except under special circumstances (for
example, when grappling, riding a mount, or if one is unconscious
or dead).
Creatures two size categories apart can occupy the same space
without special circumstances. Half the normal number of crea-
tures can occupy the space as usual (fractions are not allowed).
Creatures may occupy the same square if they are three or more
size categories different. For instance, a human could occupy one
of the squares also occupied by a purple worm.
Example: A human (Medium) fights a cloud giant (Huge). The
human occupies a single space. The cloud giant occupies roughly
nine spaces. If the human tried to occupy one of the giant’s spaces,
up to half as many humans as normal could fit, since the creatures
are two size categories apart. Since that only amounts to one-half
of a human, the human cannot occupy one of the giant’s spaces
without grappling.
Example: A halfling (Small) fights the same cloud giant. The
halfling, like the human, occupies a single space. If the halfling
tries to occupy one of the giant’s cubes, the normal number of
halflings (one) could fit, since the creatures are three size cate-
gories apart.
If a creature is in at least one of the spaces occupied by a larger
creature when that creature moves out of that space without
taking a 5-foot adjustment or a withdraw action, then the smaller
creature gets attacks of opportunity against the departing creature.
Since a creature can attack into its own space (unless armed
with a reach weapon), a smaller creature in one of the spaces occu-
pied by another creature cannot take a withdrawal action.
Any time more than one allied creature occupies an opponent’s
space (either in the same square on the grid or in separate squares),
the allied creatures provide each other with the benefit of flank-
ing. If a creature occupies part of an opponents space, it provides
flanking to all allied creatures outside the opponents space.
Example: A colony of stirges (Tiny) attacks a human (Medium).
Up to four Tiny creatures can occupy the same space. They are two
size categories apart from a human, so up to two Tiny stirges can
occupy the same space as the human, and they provide each other
with flanking against the human.
Example: A squad of halflings (Small) attacks a bulette (Huge).
The bulette takes up a space three squares across. Since the half-
lings are three or more size categories apart from the bulette, they
can enter the space the bulette occupies. Each halfling can only
occupy one space, but the bulette occupies nine squares, so up to
nine halflings can occupy the same space as the bulette. The half-
lings provide each other with flanking.
Squeezing Through
A creature can squeeze through a space as narrow in width as one-
half its space. While doing so, it moves at half its normal speed. It
takes a –4 penalty on attack rolls and a –4 penalty to AC. While a
creature is squeezing through a narrow space, it’s not possible for
other smaller creatures to also occupy that space.
A creature can move through a space with a ceiling as low as
half its height with the same penalties (in spaces both narrow and
CHAPTER 2:
USING
THE RULES
Table 2–4: Creature Sizes
Max. Max. Natural Reach
Size Height
1
Weight
2
Space (Tall) (Long)
Fine 6 in. 1/8 lb. 1/2 ft. 0 ft. 0 ft.
or less or less
Diminutive 1 ft. 1 lb. 1 ft. 0 ft. 0 ft.
Tiny 2 ft. 8 lb. 2-1/2 ft. 0 ft. 0 ft.
Small 4 ft. 60 lb. 5 ft. 5 ft. 5 ft.
Medium 8 ft. 500 lb. 5 ft. 5 ft. 5 ft.
Large 16 ft. 4,000 lb. 10 ft. 10 ft. 5 ft.
Huge 32 ft. 32,000 lb. 15 ft. 15 ft. 10 ft.
Gargantuan 64 ft. 250,000 lb. 20 ft. 20 ft. 15 ft.
Colossal 64 ft. 250,000 lb. 30 ft. 30 ft. 20 ft.
or more or more or more or more or more
1Biped’s height, quadruped’s body length (nose to base of tail)
2Assumes that the creature is roughly as dense as a regular animal. A
creature made of stone will weigh considerably more. A gaseous
creature will weigh much less.
low, double the penalties). It can move through a space with a ceil-
ing as low as one-quarter its height, but it must do so by going
prone and crawling. The normal penalties and restrictions for
being prone apply.
Standing in Tight Quarters
A creature may find itself standing atop a rocky pinnacle, fighting
from the back of a wagon, or taking advantage of the cover pro-
vided by a hole in the ground. In such cases, the creature’s space
decreases to match the space available on the ground, but its at-
tacks are unaffected because its upper body isn’t constrained. It
can use its weapons and natural reach without penalties.
SKILL AND ABILITY CHECKS
The whole game can be boiled down to the characters trying to ac-
complish various tasks, the DM determining how difficult those
tasks are to accomplish, and the dice determining success or fail-
ure. While combat and spellcasting have their own rules for how
difficult tasks are, skill checks and ability checks handle just about
everything else.
MODIFYING THE ROLL OR THE DC
Circumstances can modify a characters die roll, and they can
modify the Difficulty Class needed to succeed.
•Circumstances that improve performance, such as having the
perfect tools for the job, getting help from another character,
and having unusually accurate information, provide a bonus on
the die roll.
•Circumstances that hamper performance, such as being forced
to use improvised tools or having misleading information,
provide a penalty on the die roll.
•Circumstances that make the task easier, such as a friendly audi-
ence or helpful environmental conditions, decrease the DC.
•Circumstances that make the task harder, such as a hostile audi-
ence or doing work that must be flawless, increase the DC.
THE DM’S BEST FRIEND
A favorable circumstance gives a character a +2 bonus on a skill
check (or a –2 modifier to the DC) and an unfavorable one gives a
–2 penalty on the skill check (or a +2 modifier to the DC). Take
special note of this rule, for it may be the only one you’ll need.
Mialee runs down a dungeon corridor, running from a
beholder. Around the corner ahead wait two ogres. Does Mialee
hear the ogres getting ready to make their ambush? The DM calls
for a Listen check and rules that her running from the beholder
makes it less likely that shes listening carefully: –2 penalty on the
check. But one of the ogres is readying a portcullis trap, and the
cranking winch of the device makes a lot of noise: –2 modifier to
the DC. Also, Mialee has heard from another adventurer that the
ogres in this dungeon like to ambush adventurers: +2 bonus on
the check. Her ears are still ringing from the shout spell that she
cast at the beholder: –2 penalty on the check. The dungeon is
already noisy because of the sound of the roaring dragon on the
level below: +2 modifier to the DC.
You can add modifiers endlessly (doing so is not really a good
thing, since it slows down play), but the point is, other than the
PC’s Listen check modifier, the only numbers that the DM and the
player need to remember when calculating all the situational
modifiers are +2 and –2. Multiple conditions add up to give the
check a total modifier and the DC a final value.
Going beyond the Rule: It’s certainly acceptable to modify
this rule. For extremely favorable or unfavorable circumstances,
you can use modifiers greater than +2 and less than –2. For
example, you can decide that a task is practically impossible and
modify the roll or the DC by 20. Feel free to modify these numbers
as you see fit, using modifiers from 2 to 20.
DELINEATING TASKS
A task is anything that requires a die roll. Climbing half ones
speed is a task, as is making a pot, despite the fact that one task
takes seconds and the other hours (or even days).
A single task can encompass any of the following activities.
•Moving a set distance (as covered in a skill description).
•Making one item.
•Influencing one person, creature, or group (DM decides if
NPCs are acting as individuals or as a group).
•Dealing with one object (opening a door, breaking a board,
tying a rope, slipping out of a manacle, picking a lock).
•Determining or acquiring one piece of information.
•Searching or tracking over one area (as described in a skill or
feat description).
•Perceive one sound or sight (DM decides if NPCs are acting as
individuals or as a group).
Different skills handle task delineation in different ways. In
fact, the same skill may handle tasks in different ways depending
on what the character is doing. For example, Heal allows the
healer to make one character stable or to assist in a groups overall
healing rate over a night’s rest. Both of these are single tasks,
requiring only one roll.
Sometimes, however, a task requires multiple rolls. You must
decide, for example, if a character attempting to use Sense Motive
on a group of ogres must treat them as a group (one roll) or as indi-
viduals (a different roll for each ogre).
If two different groups approach a character from a distance,
he has to make two different Spot checks to see them if you have
decided that they are indeed different groups. If a character
searches one wall using the Search skill, he might find several
objects of importancebut you decide that each such object
requires a separate roll. In such a case, you should make the rolls
beyond the first one in secret. Asking the player to make more
than one roll at the same time gives him information that he
shouldnt have.
A few examples of long-term duties (and how many tasks they
comprise) follow.
Character on Watch: The rest of the party sleeps while Mialee
takes the watch. The DM asks for a Listen check about half an
hour into her watch, and she succeeds. She hears a rustling noise
in the nearby bushes (made by a goblin that was trying to sneak up
on the party). She decides to investigate, and the DM calls for a
Spot check opposed by a Hide check from the goblin. Mialee dis-
covers nothing (the goblin successfully conceals itself ), so she
goes back to where she was keeping watch. Later, the DM asks for
another Listen check (as the goblin once again tries to move in),
and she succeeds again. This time she catches the goblin and alerts
the rest of the party to deal with the foe. Eventually they go back
to sleep, and she goes back on watch. Later, the DM calls for
another Listen check, even though he knows theres nothing to
hear this time.
The duty of being on watch required three Listen checks, be-
cause the watch was broken into three segments—at the first
appearance of the goblin, upon checking for the goblin the second
time, and after the goblin was dealt with.
Riding: Soveliss rides his horse along rocky terrain, making no
roll to perform this mundane task. He guides it down into a steep
gully, and you call for a DC 10 Ride check to do so. At the bottom
of the gully, an owlbear menaces a wounded centaur. The ranger
spurs his mount into the fray, making no roll to do so. Once in
battle, the owlbear slashes at the ranger with a powerful claw. You
call for a Ride check for Soveliss to stay on the horse, and another
one to keep the now-panicking horse from running off. The
ranger succeeds on both checks, and then decides to leap out of
the saddle and fight the beast, requiring a DC 20 Ride check.
Soveliss succeeds again, meaning that he dismounts without
falling and moves to engage the owlbear.
CHAPTER 2:
USING
THE RULES
CHAPTER 2:
USING
THE RULES
Table 2–5: Difficulty Class Examples
DC Example Roll (Key Ability) Who Could Do It
–10 Hear the sounds of a pitched battle Listen (Wis) A commoner on the other side of a stone wall
0Track ten hill giants across a muddy field Search (Int) The village fool hustling at full speed at night
5Climb a knotted rope Climb (Str) An average human carrying a 75-pound pack
5Hear people talking on the other side of a door Listen (Wis) An absent-minded sage being distracted by allies
10 Run or charge down steep stairs Balance (Dex) A 1st-level rogue
10 Follow tracks of fifteen orcs across firm ground Search (Int) A 1st-level commoner
10 Ransack a chest full of junk to find a map Search (Int) A 1st-level commoner
10 Tie a firm knot Use Rope (Dex) A 1st-level commoner
10 Find out the current gossip Gather Information (Cha) A 1st-level commoner
11
1
Avoid being tripped by a wolf — (Str or Dex) A 1st-level commoner
12 Assess the value of a silver necklace Appraise (Int) A 1st-level rogue
13
2
Resist the command spell Will save (Wis) A 1st-level wizard or a low-level fighter
13 Bash open a simple wooden door — (Str) A fighter
15 Make a dying friend stable Heal (Wis) A 1st-level cleric
15 Make indifferent people friendly Diplomacy (Cha) A 1st-level paladin
15 Jump 10 feet (with a running start) Jump (Str) A 1st-level fighter
15 Tumble past a foe Tumble (Dex) A low-level monk
15
1
Get a minor lie past a canny guard Bluff (Cha) A 1st-level rogue
16 Identify a 1st-level spell as it is being cast Spellcraft (Int) A wizard (but not anyone untrained in spells)
17
2
Resist a 10th-level vampire’s dominating gaze Will save (Wis) A low-level monk or a high-level fighter
18 Bash open a strong wooden door — (Str) An enraged half-orc barbarian
18 Cast fireball while being shot with an arrow Concentration (Con) A low-level wizard
20 Notice a typical secret door Search (Int) A smart, 1st-level half-elf rogue
20 Notice a scrying sensor — (Int) A low-level wizard with Int 12 or higher
20 Notice an invisible creature moving nearby Spot (Wis) A low-level ranger
20 Pick a very simple lock Open Lock (Dex) A dexterous, 1st-level halfling rogue (but not anyone
untrained at picking locks)
20 Find out what sorts of crimes the baron’s Gather Information (Cha) A low-level bard
daughter has gotten away with
20 Avoid falling into a pit trap Reflex save (Dex) A mid-level rogue or a high-level paladin
20 Walk a tightrope Balance (Dex) A low-level rogue
21 Raise a dire wolf cub Handle Animal (Cha) A mid-level ranger
21
1
Sneak quietly past a hellcat 50 feet away Move Silently (Dex) A low-level rogue
22
1
Escape from an owlbear’s clutches Escape Artist (Dex) A low-level rogue
23
1
Grab a guard’s spear and wrest it out of his hands Melee attack (Str) A mid-level fighter
24 Resist the wail of the banshee spell Fortitude save (Con) A high-level fighter
24
3
Shoot an armored guard through an arrow slit Ranged attack (Dex) A high-level fighter
25 Notice that something’s wrong with a friend Sense Motive (Wis) A mid-level rogue
who’s under a vampire’s control
25 Persuade the dragon that has captured you Diplomacy (Cha) A high-level bard
that it would be a good idea to let you go
25 Find out from a city’s inhabitants who the Gather Information (Cha) A high-level bard
power behind the throne is
26 Jump over an orc’s head (with a running start) Jump (Str) A 20th-level ranger wearing light armor or a mid-level
barbarian wearing light armor (who really only needs
a 22 because his speed is higher)
28 Disable a glyph of warding Disable Device (Int) A high-level rogue (but not anyone of another class)
30 Notice a well-hidden secret door Search (Int) A high-level rogue
28 Bash open an iron door — (Str) A fire giant
29 Calm a hostile owlbear Wild empathy (Cha) A high-level druid (and only a druid or ranger)
30 Hurriedly climb a slick brick wall Climb (Str) A high-level barbarian
30 Read a letter written in ancient Draconic Decipher Script (Int) A high-level wizard
30 Pick a good lock Open Lock (Dex) A high-level rogue
43 Track a goblin that passed over hard rocks Survival (Wis) A 20th-level ranger who has maxed out his Survival
a week ago, and it snowed yesterday skill and has been fighting goblinoids as his
favored enemy since 1st level
1 This number is actually the average roll on the opponent’s opposed
check rather than a fixed number.
2 Actual DC may be higher or lower depending on the caster or ability
user.
3 This is the target’s adjusted Armor Class.
DC: The number a character needs to roll to succeed.
Example: An example of a task with that DC.
Roll (Key Ability): The roll the character makes, usually a skill check,
but sometimes a saving throw, an ability check, or even an attack
roll. The ability that modifies the roll is in parentheses. A “—” in this
column means that the check is an ability check and no skill ranks,
base save bonuses, or base attack bonuses apply.
Who Could Do It: An example of a character that would have about a
50% chance to succeed. When this entry names a character by class,
it assumes that the character has the skill in question. (Other
characters might have a better or worse chance to succeed.)
Riding a mount doesnt normally require rolls. Only riding into
difficult terrain or performing a specific task involving riding
requires a roll.
Tracking: Soveliss is following a giant scorpion across the
desert. He follows the vermin for 3 miles, making a Survival
check each mile, but tracking in the soft sand is easy. Shortly after
the third mile, a windstorm comes up. Soveliss waits it out, and it
passes after an hour. Now he must make a fourth check to see if
he can pick up the trail in the wind-tossed sand. This check is of
course more difficult than the earlier ones, as are all subsequent
checks until the tracker gets to the place where the scorpion was
when the storm passed.
Normally, tracking requires a Survival check each mile, but a
sudden change in situation can require an additional roll.
Sneaking: Lidda is sneaking through a dungeon filled with
hobgoblins. She must pass by an open doorway beyond which is
a room where the brutes are drinking from a keg of ale. She
makes a Move Silently check, and the hobgoblins make opposed
Listen checks, but they’re not paying much attention, so the half-
ling sneaks by easily. The hobgoblins arent even looking at the
door, so no Hide check is required. To get out, however, she must
pass right through a guard room. She must make a Hide check to
keep to the dark shadows near the walls, and a new Move
Silently check (new because the listeners are different individu-
als, plus they’re more alert) to get past the guards and through
the room.
A new Move Silently check is needed for each different group
that a sneaker is trying to avoid. Sometimes both a Move Silently
check and a Hide check are needed when sneaking around. Some-
times they’re not.
GENERAL VERSUS SPECIFIC
Sometimes a player will say, “I look around the room. Do I see
anything?” and sometimes she’ll say, “I look into the room,
knowing that I just saw a kobold dart inside. I look behind the
chair and the table, and in all the dark corners. Do I see it?” In
both cases, the DM replies, “Make a Spot check.” However, in
the second example, the character has specialized knowledge of
the situation. She’s asking specific questions. In such cases,
always award the character a +2 bonus for favorable conditions.
It’s good to reward a character who has knowledge that allows
her to ask specific questions.
If the kobold’s actually not in the room, but a cloaker waits in
ambush on the ceiling, the character has no special knowledge
and gains no bonus. She doesnt get a penalty, either—dont
penalize specific questions. If both the kobold and the cloaker
are in the room, two Spot checks are required (unless the mon-
sters are working together as a group, which is highly unlikely).
The character gets a +2 bonus on the check to spot the kobold
and no bonus on the check to spot the cloaker.
DEGREES OF SUCCESS
When determining how much information a skill check or abil-
ity check gives a character, the degree of success is important to
the task. For example, an invisible assassin sneaks up on a cleric.
The cleric makes a Listen check opposed by the assassins Move
Silently check, and the cleric is successful. You could describe
this success to the player of the cleric in many different ways,
including these.
•“You heard a noise and you know something’s out there, but
you dont see anything.
•“You heard a noise. It sounded like a person moving, and it
came from ‘over there.’ ”
•“You heard a noise. You know theres an invisible creature
about 15 feet northeast of you, and you can target that crea-
tures location with an attack.
To determine how much information to give out, compare
the opposed check results (or for a nonopposed check, the
check result and the DC). In the example above, you give the
first answer if the check merely succeeds on the check. If the
cleric beats the assassins check result by 10 or more, he has
achieved a greater success, and he gets the second answer. If he
exceeds the assassins check result by 20 or more, he has
achieved a perfect success, and he gets all the information—the
third answer.
Degrees of success usually only apply when the amount of
information you have to give out can be different depending on
how well the character succeeds. Most of the time, the only out-
come that matters is whether the character succeeds or fails.
DEGREES OF FAILURE
Usually failure itself is a sufficient problem and does not need to
be compounded. However, failure can sometimes cause addi-
tional problems, such as a setting off a trap or alerting a sentry to
the characters’ presence. When such consequences exist, a check
that fails by 5 or more causes them to occur. For example, if
Lidda the rogue misses a Disable Device check by 5 or more, she
sets off the trap shes trying to disable.
Skills that carry an additional risk on a failed
check include the following. Other risks on a
failure may apply, at your discretion.
CHAPTER 2:
USING
THE RULES
Incorporeal wraiths
lunge toward
an adventurer.
Illus. by S. Fischer
Skill Risk
Balance Falling
Climb Falling
Craft Ruin raw materials
Disable Device Device triggers, or is not disabled
Spot (reading lips) Receive false information
Swim Sink below surface of water
Use Rope Grappling hook fails in 1d4 rounds
TAKING 10
Encourage players to use the take 10 rule. When a character is
swimming or climbing a long distance, for example, this rule can
really speed up play. Normally, you make a check each round with
these movement-related skills, but if there’s no pressure, taking 10
allows them to avoid making a lot of rolls just to get from point A
to point B.
ABILITY CHECKS
The game has no rules for trying to stay awake through the
night, writing down every word someone says without a mis-
take, or opening the stuck lid of a container without spilling a
single drop of its contents. However, in the course of an adven-
ture any of these situations could potentially make or break an
encounter. You have to be ready to make up checks for such non-
standard activities.
Using the example situations above, staying awake might be a
Constitution check (DC 12, +4 for every previous night without
sleep), with an elf character gaining a +2 bonus on her check
because an elf is only giving up 4 hours of trance instead of 8
hours of sleep. Writing down every word that someone says would
require a DC 15 Intelligence check, and a DC 10 Dexterity check
prior to the Intelligence check would provide a +2 bonus on the
roll. Opening the container would normally be a Strength check
(DC about 17), and once thats accomplished, a DC 13 Dexterity
check is required to keep from spilling the contents.
The three kinds of ability checks you could call for to handle a
nonstandard situation include the following.
•A single check using an relevant ability (as in staying awake).
•One ability check that, depending on the result, might provide
a modifier on another check involving a different ability (as in
writing down every word).
•Two or more separate ability checks, usually involving different
abilities, to accomplish a multipart task (such as opening the
jug without spilling).
You can also use a combination of an ability check and a skill
check in an appropriate situation. For example, when swimming
in frigid water, Lidda might have to make a Constitution check to
avoid taking a penalty on her Swim check.
Decisions on how to handle nonstandard situations are left to
your best judgment.
SAVING THROWS
Adjudicating and varying saving throws works a lot like adjudicat-
ing and varying skill and ability checks.
WHICH KIND OF SAVE?
Fortitude, Reflex or Will? When assigning something a saving
throw, use these guidelines.
Fortitude: Fortitude saves reflect physical toughness. They
incorporate stamina, ruggedness, physique, bulk, metabolism,
resistance, immunity, and other similar physical qualities. If it
seems like something that a “tough guy” would be good at, its a
Fortitude save.
Reflex: Reflex saves reflect physical (and sometimes mental)
agility. They incorporate quickness, nimbleness, hand-eye coor-
dination, overall coordination, speed, and reaction time. If it
seems like something that an agile person would be good at, its
a Reflex save.
Will: Will saves reflect inner strength. They incorporate will-
power, mental stability, the power of the mind, levelheadedness,
determination, self-confidence, self-awareness, the superego, and
resistance to temptation. If it seems like something that a confi-
dent or determined person would be good at, it’s a Will save.
SAVE OR CHECK?
A character slips and falls. He tries to catch himself on a ledge,
while another character reaching forward attempts to catch him.
Are these Reflex saves or Dexterity checks?
The answer to the above question is “Both.The character at-
tempting to save himself makes a Reflex save. The character trying
to grab him makes a Dexterity check.
CHAPTER 2:
USING
THE RULES
VARIANT: SKILLS WITH DIFFERENT ABILITIES
Sometimes a check involves a character’s training (skill ranks) plus an
innate talent (ability) not usually associated with that training. A skill
check always includes skill ranks plus an ability modifier, but you can
use a different ability modifier from normal if the character is in a situ-
ation where the normal key ability does not apply.
For example:
•A character is underwater and tries to maneuver by pulling himself
along some improvised handholds. Since his body has natural buoy-
ancy (meaning he doesn’t need to pull as hard to lift himself), the
DM rules that the player should make a Climb check keyed to
Dexterity rather than to Strength.
•A character is trying to pick the best horse from several that a
merchant is selling. Normally this would be an Appraise check, but
familiarity with horses ought to count for something. The DM lets
the player use the character’s ranks in Ride instead of ranks in
Appraise and applies the character’s Wisdom modifier (as normal
for an Appraise check).
•A character needs to use main force to restrain a panicked horse.
Normally this would call for a Strength check, but a character skilled
at handling animals ought to be able to use his knowledge to
restrain the horse more easily. The DM lets the player add the char-
acter’s ranks in Handle Animal (but not his Charisma modifier) to
the Strength check.
•A character has created a masterwork dagger as a gift for a visiting
noble. He attempts to inscribe it with intricate designs. The DM
rules that this is a Dexterity check to which the character’s ranks in
Craft (weaponsmithing) apply.
•A character is trying to climb a ladder to the bottom of a very deep
chute. Normally, the DM would call for a Constitution check to see
if the character can keep going, but he can also allow the player to
add the character’s ranks in Climb to the roll.
These sorts of unusual situations are always handled on a case-by-case
basis, and only as exceptions. The vast majority of the time, use the
normal key ability.
Remember that when you change the way a skill works in this fash-
ion, you should dictate when the change comes into play—it’s not up
to a player to make this sort of decision. Players may try to rationalize
why they should get to use their best ability score modifier with a skill
that doesn’t normally use that ability, but you shouldn’t allow this sort
of rule change unless you happen to agree with it.
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Key Concept 1: Checks are used to accomplish something,
while saves are used to avoid something.
Key Concept 2: Check modifiers don’t take into account
character level or class level. Save bonuses always do. If a task
seems like it should be easier for a high-level character, use a
saving throw. If it seems like the task should be equally difficult
for any two characters with the same score in the relevant
ability, use a check. For example, opening a door is merely a
reflection of strength, not experience. Thus, its a Strength
check. The middle ground is a skill check, such as a Balance
check to avoid falling while running over broken ground. A
Balance check takes level into account only if the character has
ranks in the skill.
DIFFICULTY CLASSES
Assigning DCs is your job, but usually the rules are straightfor-
ward. The game has a standard rule for the DC of a saving throw
against a spell, and creatures and magic items with abilities that
force others to make saves always have that saving throw clearly
detailed (or else they function just like spells, and you use the
spell rule). The general rules are as follows.
Spells: 10 + spell level + casters ability modifier.
Monster Abilities: 10 + 1/2 monsters Hit Dice + monster’s
ability modifier.
Miscellaneous: 10 to 20. Use 15 as a default.
As with checks, saving throw die rolls can be modified, or the
DC can be modified. See The DM’s Best Friend, page 30.
ADJUDICATING MAGIC
At the middle range of levels (6th through 11th), most charac-
ters cast spells, and they all use magic items, many of which pro-
duce strange effects. Handling spells and effects well is often
the difference between a good game and a really good one.
DESCRIBING SPELL EFFECTS
Magic is flashy. When characters cast spells or use magic items,
you should describe what the spell looks, sounds, smells, or feels
like as well as its game effects.
A magic missile could be a dagger-shaped burst of energy that
flies through the air. It also could be a fistlike creation of force
that bashes into its target or the sudden appearance of a
demonic head that spits a blast of energy. When someone
becomes invisible, he or she fades away. A summoned fiend
appears with a flash of blood-red energy and a smell of brim-
stone. Other spells have more obvious visual effects. A fireball
and a lightning bolt, for example, appear pretty much the way
they are described in the Players Handbook. For dramatic flair,
however, you could describe the lightning bolt as being a thin arc
of blue lightning and the fireball as a blast of green fire with red
twinkling bursts within it.
You can let players describe the spells that their characters
cast. Don’t, however, allow a player to use an original description
that makes a spell seem more powerful than it is. A fireball spell
that creates an illusion of a dragon breathing flames goes too far.
Spells without obvious visual effects can be described as well.
Since a target who makes his saving throw against a spell knows
that something happened to him, you could describe a charm
spell or a compulsion spell as a cold claw threatening to enclose
his mind that he manages to shake off. (If the spell worked, the
target would not be aware of such an effect, for his mind would
not be entirely his own.)
Sound can be a powerful descriptive force. You could say that a
lightning bolt is accompanied by a clap of thunder. A cone of cold
sounds like a rush of wind followed by a tinkling of crystalline ice.
HANDLING DIVINATIONS
Spells such as augury, divination, and legend lore require you to come
up with information on the spot. Two problems can arise when
dealing with divinations such as these.
CHAPTER 2:
USING
THE RULES
VARIANT: CRITICAL SUCCESS OR FAILURE
If a player rolls a natural (unmodified) 20 on a check, allow him or her
to make another check. If the second check is successful, the charac-
ter has achieved a critical success with the use of that skill or ability,
and something particularly good happens. Likewise, if a player rolls a
natural 1, he rolls again. If the second check is a failure, the character
has achieved a critical failure (made a critical blunder), and something
really bad happens.
It’s up to you to determine the specific result of a critical success or
failure. Some examples follow.
Critical Successes
On a Climb check or Swim check, the character moves twice as far
as she would on a normal success.
When using Diplomacy, the character makes a good, trusted friend
for long-term play.
When using a Knowledge skill, the character comes to an important
conclusion related to the task at hand.
When using Search, the character discovers something that she
otherwise never could have found (if anything is present to be found).
When using Survival to track, the character determines some amaz-
ing minutiae about her prey. For instance, she realizes that the three
subjects she’s tracking aren’t happy with one another because they
occasionally stop and apparently argue, based on where they stand in
relation to each other.
When using Heal to give first aid, the character heals 1 point of
damage dealt to the subject.
Critical Failures
When using a Perform skill, the character displeases his audience so
greatly that they wish to do him harm.
On a Climb check, the character falls so badly that he takes an
additional 1d6 points of damage, or he falls and tears away a few
good handholds, making it a more difficult climb (+5 to the DC) on
the next try.
When using Disguise, the character not only doesn’t look like what
he intended, but actually looks like something offensive or hateful to
the viewers.
When using Escape Artist, the character actually gets himself more
entangled or pinned, adding +5 to the DC on the next try.
On a Use Rope check, the character breaks the rope.
When using Open Lock, the character breaks off his pick in the lock,
making it impossible to open.
When using any kind of tool, the character destroys the tool.
Sometimes, there’s nothing more that can be achieved with a critical
success, or there’s nothing worse than a normal failure. In such a case,
ignore this variant rule.
You should also ignore this variant whenever a character takes 10 or
takes 20. It’s not possible to achieve a critical success when all you’re
trying to do is complete a task without worrying about completing it as
well as possible, and it’s not possible to get a critical failure if you’re
not under pressure when you’re making the check.
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The Player Could Learn Too Much: The strategic use of a
divination spell could put too much information into the
hands of the players, ruining a mystery or revealing a surprise
too soon. The way to avoid this problem is to keep in mind the
capabilities of the PCs when you create adventures. Dont forget
that the cleric might be able to use her commune spell to learn
the identity of the kings murderer. While you shouldn’t allow a
divination to give a player more information than you want her
to have, you shouldn’t cheat a player out of the effects of her
spells just for the sake of the plot. Remember also that certain
spells can protect someone from divinations such as detect evil
and discern liesbut thats not really the point. Dont design sit-
uations that make the PCs’ divinations worthlessdesign situ-
ations to take divinations into account. Assume that the cleric
learns the identity of the kings murderer. Thats fine, but the
adventure is about apprehending him, not just identifying him,
and its especially important to stop him before he kills the
queen as well.
In short, you should control information, but dont deny it to
the character who has earned it.
Needing Answers on the Fly: Most likely you wont know
that a character is going to use a divination spell until the spell is
cast, and so you often need to come up with an answer on the fly.
One of the ways to get around this problem is obvious. To an-
swer a question about what lies at the bottom of the dark staircase,
you have to know what’s there. Chances are you already do know
whats there, or the character using the divination wouldnt con-
sider the question worth asking. If you dont know, then you need
to make something up in a hurry.
More difficult is coming up with a way to convey the infor-
mation. For example, the description of the divination spell
notes that “The advice can be as simple as a short phrase, or it
might take the form of a cryptic rhyme or omen.” Cryptic
rhymes are often difficult to come up with in the middle of a
game. One trick is to create a rhyme ahead of time that can fit
just about any question, such as “If X is the seed you sow, reap
you will Y and know,” where X is an action and Y is the result. Or
“If into X fate doth thee send, thou wilt find Y in the end,
where X is a place and Y is a result or consequence, such as
“danger” or “treasure.
CREATING NEW SPELLS
Introducing an unbalanced spell does more damage to your
game than handing out an unbalanced magic item. A magic
item can get stolen, destroyed, sold, or otherwise taken away—
but once a character knows a spell, shes going to want to keep
using it.
When creating a new spell, use the existing spells as bench-
marks, and use common sense. Creating a spell is actually fairly
easy—its assigning a level to the new spell thats hard. If the
“best” 2nd-level spell is invisibility, and the “best” 1st-level spell is
charm person or sleep, and the new spell seems to fall between
those spells in power, its probably a 2nd-level spell. (Sleep, how-
ever, is a strange example, because its a spell that gets less useful
as the caster gains levels—compared to a spell such as magic mis-
sile or fireball, which gets better, up to a point, for higher-level
casters. Make sure spells that only affect low-level creatures are
low-level spells.)
Here are some pieces of advice to consider.
•If a spell is so good that you cant imagine a caster not wanting
it all the time, it’s either too powerful or too low in level.
•An experience point (XP) cost is a good balancing force. An
expensive material component is only a moderately good
balancing force. (Money can be easy to come by; an XP loss
almost always hurts.)
•When determining level, compare range, duration, and target
(or area) to other spells to balance. A long duration or a large
area can make up for a lesser effect, depending on the spell.
•A spell with a very limited use (only works against red dragons)
could conceivably be one level lower than it would be if it had
a more general application. Even at a low level, this is the sort of
spell a sorcerer or bard never takes, and other casters would
prepare it only if they knew in advance it would be worthwhile.
•Wizards and sorcerers should not cast healing spells, but they
should have the best offensive spells. If the spell is flashy or
dramatic, it should probably be a wizard/sorcerer spell.
Clerics are best at spells that deal with alignment and have the
best selection of curative and repair spells. They also have the
best selection of information-gathering spells, such as
commune and divination.
•Druids are best at spells that deal with plants and animals.
Rangers and paladins should not have flashy attack spells in
the manner of magic missile and fireball.
•Bard spells include enchantments, information-gathering
spells, and a mixture of other kinds of spells, but do not include
powerful offensive spells such as cone of cold.
Damage Caps for Spells
For spells that deal damage, use the tables below (one for arcane
spells, one for divine spells) to determine approximately how
much damage a spell should deal. Remember that some spells
(such as burning hands) use a d4 for damage, but fireball uses a d6.
For clerics, a d8 damage die counts as 2d6 for determining the
maximum damage a divine spell can deal.
CHAPTER 2:
USING
THE RULES
VARIANT: SAVES WITH DIFFERENT ABILITIES
To model unusual situations, you can change the ability score that
modifies a save, just as you can do with a skill (see the sidebar on page
33). This is purely a variant, however, since not all DMs want this
degree of complication.
Fortitude saves against mental attacks (such as phantasmal killer)
could be based on Wisdom, making it a cross between a Fortitude and
a Will save. (Apply the character’s Fortitude save bonus from class and
level, then add his Will modifier instead of his Constitution modifier.)
The DM may allow a character to cast a quickened dimension door
spell in response to falling into a pit trap. Reacting quickly to a trap
requires a Reflex save, but in this case the DM might make this a Reflex
save based on Wisdom rather than Dexterity, since casting the spell is
mainly a mental action.
Will saves against enchantments could use Charisma instead of
Will, since Charisma reflects force of personality.
Will saves against illusions could be keyed to Intelligence, the abil-
ity that best represents discernment.
As with skills, changes to a saving throw’s key ability are always
handled on a case-by-case basis. Unless you institute changes to
saving throws as a house rule, these changes are very rare.
Remember that when you change the way a saving throw works
in this fashion, you should dictate when the change comes into
play—it’s not up to a player to make this sort of decision. Players
may try to rationalize why they should get to use their best ability
modifier on a saving throw that doesn’t normally use that ability,
but you shouldn’t allow this sort of rule change unles you happen
to agree with it.
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Maximum Damage for Arcane Spells
Arcane Max Damage Max Damage
Spell Level (Single Target) (Multiple Targets)
1st 5 dice
2nd 10 dice 5 dice
3rd 10 dice 10 dice
4th 15 dice 10 dice
5th 15 dice 15 dice
6th 20 dice 15 dice
7th 20 dice 20 dice
8th 25 dice 20 dice
9th 25 dice 25 dice
Maximum Damage for Divine Spells
Divine Max Damage Max Damage
Spell Level (Single Target) (Multiple Targets)
1st 1 die
2nd 5 dice 1 die
3rd 10 dice 5 dice
4th 10 dice 10 dice
5th 15 dice 10 dice
6th 15 dice 15 dice
7th 20 dice 15 dice
8th 20 dice 20 dice
9th 25 dice 20 dice
The damage cap depends on whether a spell affects a single
target or multiple targets. A single-target spell affects only one
creature or has its total damage divided among several creatures.
For example, a magic missile spell can deliver 5 dice of damage to
one target. If it strikes more than one target, its damage dice must
be divided among them. A multiple-target spell deals full damage
to two or more creatures simultaneously. For example, a fireball
damages everything within its 20-foot spread.
REWARDS
Mialee and Tordek stand within the treasure chamber, surveying
the riches before them. To get there, they slew three trolls, by-
passed several devious traps, and solved the riddle of the golden
golem to stop it from crushing them. Now they are not only
richer, but from their experiences they have grown in knowledge
and power.
Experience points are a measure of accomplishment. They rep-
resent training and learning by doing, and they illustrate the fact
that, in fantasy, the more experienced a character is, the more pow-
er he or she possesses. Experience points allow a character to gain
levels. Gaining levels heightens the fun and excitement.
Experience points can be spent by spellcasters to power some of
their most potent spells. Experience points also represent the per-
sonal puissance that a character must imbue an object with in
order to create a magic item.
In addition to experience, characters also earn treasure on their
adventures. They find gold and other valuables that allow them to
buy bigger and better equipment, and they find magic items that
give them new and better abilities.
EXPERIENCE AWARDS
When the party defeats monsters, you award the characters expe-
rience points (XP). The more dangerous the monsters, compared
to the party’s level, the more XP the characters earn. The PCs split
the XP between themselves, and each character increases in level
as his or her personal XP total increases.
You need to calculate XP awards during the course of an adven-
ture, whether its one you wrote or one you purchased. You may
wish to award experience points at the end of a session to enable
players to advance their characters in level if they have enough
experience points. Alternatively, you may wish to give out XP
awards at the beginning of the game session following the one in
which the characters earned it. This gives you time between ses-
sions to use these rules and determine the experience award.
As part of determining experience point awards, you need to
break the game down into encounters and then break the encoun-
ters down into parts. If you’re using monsters from the Monster
Manual, some of the work has already been done for you. Each
monster in that book has a Challenge Rating (CR) that, when
compared to party level, translates directly into an XP award.
A Challenge Rating is a measure of how easy or difficult a mon-
ster or trap is to overcome. Challenge Ratings are used in Chapter
3: Adventures to determine Encounter Levels (EL), which in turn
indicate how difficult an encounter (often involving multiple
monsters) is to overcome. A monster is usually overcome by defeat-
ing it in battle, a trap by being disarmed, and so forth.
You must decide when a challenge has been overcome. Usually,
this is simple to do. Did the PCs defeat the enemy in battle? Then
they met the challenge and earned experience points. Other
CHAPTER 2:
USING
THE RULES
VARIANT: SPELL ROLL
Substitute this variant for the standard method of determining saving
throw DCs for spells. Every time a character casts a spell that requires
a target to make a saving throw, the caster rolls 1d20 and adds the spell
level and the appropriate ability modifier. The result is the DC for the
saving throw. Roll once even for a spell that affects many creatures.
This variant introduces a great deal more randomness into spell-
casting—sometimes low-level spells cast by mediocre casters will
have high DCs, and sometimes high-level spells cast by powerful
casters are easy to resist. It downplays the level of the spell and the
ability modifier. As with variant combat rules, any change that
increases chance in a battle favors the underdog, and that’s usually
the enemy of the PCs.
VARIANT: POWER COMPONENTS
The horn of the rare red minotaur can be combined with a potent
mixture of herbs that can aid in restoring wholeness to the afflicted. So
potent is the energy contained in the concoction that a cleric who uses
it while casting greater restoration (and uses it up) need not devote any
personal power (XP) in order to cast the spell.
This variant allows for special rare ingredients (“power compo-
nents”) to be added to material spell components in place of an XP
component. You’re free to allow this on a case-by-case basis. Perhaps
these components exist only for certain spells. They’re certainly rare,
and certainly expensive—ten to twenty times the XP component in
gold pieces is a good baseline price. Further, characters may need to
consult sages or cast divinations in order to find out what the proper
ingredients are.
Consider not allowing characters to buy power components—
instead, make them the object of an adventure. The hunt for the red
minotaur can be a challenging and entertaining adventure by itself, but
if the defeat of the minotaur is the first step toward the goal of bring-
ing back a fallen comrade, the scenario takes on a larger importance.
In the same way, special ingredients can substitute for the XP that a
character otherwise has to spend to create magic items.
This variant works if it makes powerful magic more colorful and if it
fits the way you want to portray magic in your campaign. It fails if it
means that the only hard control on casting powerful spells and creat-
ing magic items (the XP component) slips away, so that such actions
become commonplace.
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times, it can be trickier. Suppose the PCs sneak past the sleeping
minotaur to get into the magical vault—did they overcome the
minotaur encounter? If their goal was to get into the vault and the
minotaur was just a guardian, then the answer is probably yes. It’s
up to you to make such judgments.
Only characters who take part in an encounter should gain the
commensurate awards. Characters who died before the encounter
took place, or did not participate for some other reason, earn noth-
ing, even if they are raised or healed later on.
To determine the XP award for an encounter, follow these steps.
1. Determine each characters level. Dont forget to account for
ECL (see Monsters as Races, page 172) if any of the characters
are of a powerful race.
2. For each monster defeated, determine that
single monsters Challenge Rating.
3. Use Table 2–6: Experience Point
Awards (Single Monster) to cross-
reference one characters level
with the Challenge Rating for
each defeated monster to
find the base XP award.
4. Divide the base XP award by the
number of characters in the party. This is
the amount of XP that one character
receives for helping defeat that monster.
5. Add up all the XP awards for all the
monsters the character helped defeat.
6. Repeat the process for each character.
Do not award XP for creatures that enemies summon or other-
wise add to their forces with magic powers. An enemy’s ability
to summon or add these creatures is part of the enemys CR
already. (You dont give PCs more XP if a drow cleric casts unholy
blight on them, so dont give them more XP if she casts summon
monster IV instead.)
Example: A party of five PCs defeats two CR 2 monsters and a
CR 3 monster. The party consists of a 3rd-level character, three
4th-level characters, and a 5th-level character. The 3rd-level char-
acter earns 600 XP for each CR 2 monster and 900 XP for the CR 3
monster. Thats 2,100 XP, and dividing by 5 (the number of charac-
ters in the party) yields an experience award of 420 XP. The 4th-
level characters each earn 400 XP [(600 + 600 + 800) ÷5] and the
5th-level character earns 350 XP [(500 + 500 + 750) ÷5].
Monsters Below CR 1
Some monsters are fractions of a Challenge Rating.
For instance, a single orc is not a good challenge
for even a 1st-level party, although two
might be. You could think of an orc as
approximately CR 1/2. For these cases,
calculate XP as if the creature were CR
1, then divide the result by 2.
Challenge Ratings for NPCs
An NPC with a PC class has a Challenge
Rating equal to the NPC’s level. Thus, an
8th-level sorcerer is an 8th-level encounter. As a
rule of thumb, doubling the number of foes adds 2 to
the Encounter Level. Therefore, two 8th-level fighters are an EL
10 encounter. A party of four NPC 8th-level characters is an EL 12
encounter.
Some powerful creatures are more of a challenge than their
level would suggest. A drow, for example, has spell resistance and
other abilities, so her CR is equal to her level +1.
Some creatures have monster levels in addition to their class
levels, such as a centaur ranger. In this case, add the creatures
CHAPTER 2:
USING
THE RULES
VARIANT: SUMMONING INDIVIDUAL MONSTERS
When a character casts a summon monster or summon nature’s ally
spell, she gets a typical, random creature of the kind she chooses. As
a variant in your campaign, you can rule that each spellcaster gets
specific, individual creatures rather than just some random one. This
variant lets players feel more ownership over the creatures that their
characters summon, but it entails some special problems, so don’t
allow it without considering it carefully.
Specific Creatures: Whenever a spellcaster summons a single crea-
ture of a given kind, it’s always the same creature. A player can roll the
ability scores and hit points for each creature that his character can
summon. His specific creatures may be above or below average. Allow
the player to take average statistics instead of rolling if he wants to
avoid the risk of getting stuck with bad dice rolls. (There’s no “hope-
less creature reroll” for bad ability scores in this case.) The player can
also name each creature and define its distinguishing characteristics.
Multiple Creatures: Whenever a spellcaster summons more crea-
tures, the first one is always the same, and each successive creature is
likewise always the same. Thus, if Mialee can summon up to three
celestial eagles named Kulik, Skitky, and Kliss, then she always gets
Kulik when she summons one celestial eagle, Kulik and Skitky when
she summons two, and all three when she summons three. The player
can roll ability scores and hit points for all three.
The summoner gets the same creatures no matter which version of
a spell she uses. Mialee gets Kulik with summon monster II and she
gets Kulik plus possibly Skitky and Kliss with summon monster III.
Summoning Limits: Getting the same intelligent summoned crea-
ture over and over again gives a summoner certain advantages. She
can, for instance, send a creature to scout out an area for the duration
of the spell and then summon it up again to get a report. If the crea-
ture is killed (and thus sent back to its home) or dispelled, however,
that individual creature is not available to be summoned for 24 hours.
The summoner summons one fewer creature of that kind because the
unavailable creature still takes up its normal “slot.” Thus, if Kulik is
killed and later that day Mialee summons two celestial eagles, she only
gets Skitky (instead of Kulik and Skitky).
If a creature that a character summons is actually, truly killed (not
just “killed” while summoned), it is no longer available, and the
summoner gets one less creature of that kind than normal. On attain-
ing a new level, however, the summoner may replace the slain creature
(see below).
Replacing Creatures: Each time a summoner gains a level in a spell-
casting class, she can drop out one of her creatures and roll up a new
one to fill its “slot.” For example, at 5th level, Mialee can summon
Kulik, Skitky, and Kliss with summon monster III. When she reaches 6th
level, she can drop any one of her summonable creatures and replace
it with a new one. If Kulik has low ability scores or if it has permanently
died, she can drop it in favor of a new, randomly rolled creature, which
then occupies her “first celestial eagle” slot.
Improving Creatures: Summoners can improve their creatures.
Typically, they do so by giving them magic items or other special
objects. The trick is, a summoned creature can’t take things back home
with it. When a summoned creature disappears, it leaves all the things
that it gained while on the Material Plane. Mialee can’t just summon up
Kulik and give it a cloak of resistance. She has to go to its plane or bring
it actually onto the Material Plane before she can give it anything it can
keep. The way to get a creature to actually come to the Material Plane is
to use a lesser planar ally, planar ally, greater planar ally, lesser planar bind-
ing, planar binding, greater planar binding, or gate spell, since these are
all calling spells and actually bring the creature to the caster.
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base CR to its total class levels to get its overall CR. For
example, a centaur is CR 1, so a centaur whos also a 7th-level
ranger is CR 8.
Since NPC classes (see Chapter 5: Campaigns) are weaker than
PC classes, levels in an NPC class contribute less to a creatures CR
than levels in a PC class. For an NPC with an NPC class, determine
her Challenge Rating as if she had a PC class with one less level.
For a creature with monster levels in addition to NPC class levels,
add the NPC levels –1 to the creatures base CR (always adding at
least 1).
For example, when adding class levels to some sample charac-
ters, the resulting CRs would be as given in the following table.
Remember that warrior is an NPC class, and fighter is a PC class.
—————— Class Levels ——————
Creature 1 2 10
Dwarf warrior CR 1/2 CR 1 CR 9
Dwarf fighter CR 1 CR 2 CR 10
Orc warrior CR 1/2 CR 1 CR 9
Orc fighter CR 1 CR 2 CR 10
Drow warrior CR 1 CR 2 CR 10
Drow fighter CR 2 CR 3 CR 11
Ogre warrior
1
CR 3 CR 3 CR 11
Ogre fighter
1
CR 3 CR 4 CR 12
1 The ogre with no class levels has a CR of 2. Ogres with class levels
retain their original 4 HD, attack bonuses, and other aspects of their
monster levels.
CHAPTER 2:
USING
THE RULES
Table 2–6: Experience Point Awards (Single Monster)
Character —–————————————————————— Challenge Rating —–———————––——————————————
Level CR 1 CR 2 CR 3 CR 4 CR 5 CR 6 CR 7 CR 8 CR 9 CR 10
1st–3rd 300 600 900 1,350 1,800 2,700 3,600 5,400 7,200 10,800
4th 300 600 800 1,200 1,600 2,400 3,200 4,800 6,400 9,600
5th 300 500 750 1,000 1,500 2,250 3,000 4,500 6,000 9,000
6th 300 450 600 900 1,200 1,800 2,700 3,600 5,400 7,200
7th 263 350 525 700 1,050 1,400 2,100 3,150 4,200 6,300
8th 200 300 400 600 800 1,200 1,600 2,400 3,600 4,800
9th * 225 338 450 675 900 1,350 1,800 2,700 4,050
10th * * 250 375 500 750 1,000 1,500 2,000 3,000
11th * * * 275 413 550 825 1,100 1,650 2,200
12th * * * * 300 450 600 900 1,200 1,800
13th * ****3254886509751,300
14th * **** *3505257001,050
15th * **** * *375563750
16th * **** * **400600
17th * **** * ** *425
18th * **** * ** **
19th * **** * ** **
20th * **** * ** **
Character —–————————————————————— Challenge Rating —–———————––——————————————
Level CR 11 CR 12 CR 13 CR 14 CR 15 CR 16 CR 17 CR 18 CR 19 CR 20
1st–3rd ** ** ** ** ** ** ** ** ** **
4th 12,800 ** ** ** ** ** ** ** ** **
5th 12,000 18,000 ** ** ** ** ** ** ** **
6th 10,800 14,400 21,600 ** ** ** ** ** ** **
7th 8,400 12,600 16,800 25,200 ** ** ** ** ** **
8th 7,200 9,600 14,400 19,200 28,800 ** ** ** ** **
9th 5,400 8,100 10,800 16,200 21,600 32,400 ** ** ** **
10th 4,500 6,000 9,000 12,000 18,000 24,000 36,000 ** ** **
11th 3,300 4,950 6,600 9,900 13,200 19,800 26,400 39,600 ** **
12th 2,400 3,600 5,400 7,200 10,800 14,400 21,600 28,800 43,200 **
13th 1,950 2,600 3,900 5,850 7,800 11,700 15,600 23,400 31,200 46,800
14th 1,400 2,100 2,800 4,200 6,300 8,400 12,600 16,800 25,200 33,600
15th 1,125 1,500 2,250 3,000 4,500 6,750 9,000 13,500 18,000 27,000
16th 800 1,200 1,600 2,400 3,200 4,800 7,200 9,600 14,400 19,200
17th 638 850 1,275 1,700 2,550 3,400 5,100 7,650 10,200 15,300
18th 450 675 900 1,350 1,800 2,700 3,600 5,400 8,100 10,800
19th * 475 713 950 1,425 1,900 2,850 3,800 5,700 8,550
20th * * 500 750 1,000 1,500 2,000 3,000 4,000 6,000
For monsters with CRs higher than 20, double the reward for a CR two levels below the desired CR. Thus, a CR 21 reward equals double the CR 19
reward, CR 22 is double the CR 20 reward, CR 23 is double the CR 21 reward, and so on.
Bold numbers indicate the amount of XP that a standard encounter for a party of that level should provide.
* The table doesn’t support XP for monsters that individually are eight Challenge Ratings lower than the character’s level, since an encounter with
multiple weak creatures is hard to measure. See Assigning Ad Hoc XP Awards, page 39.
** The table doesn’t support awards for encounters eight or more Challenge Ratings higher than the character’s level. If the party is taking on
challenges that far above their level, something strange is going on, and the DM needs to think carefully about the awards rather than just taking
them off a table. See Assigning Ad Hoc XP Awards, page 39.
Challenge Ratings for Traps
Traps vary considerably. Those presented in this book
(see pages 70–74) have Challenge Ratings as-
signed to them. For traps you and your players
create, as a rule of thumb, assign +1 CR for
every 2d6 points of damage the trap deals.
For magic traps, start at CR 1 and then assign
+1 CR for every 2d6 points of damage the trap
deals or +1 for every level of the spell the trap
simulates. Traps generally shouldnt have a
Challenge Rating greater than 10.
Overcoming the challenge of a trap
involves encountering the trap, either by
disarming it, avoiding it, or simply sur-
viving the damage it deals. A trap
never discovered or never
bypassed was not encountered
(and hence provides no XP
award).
Modifying XP Awards
and Encounter Levels
An orc warband that attacks
the PCs by flying over them
on primitive hang gliders and
dropping large rocks is not the
same encounter as one in which
the orcs just charge in with spears.
Sometimes, the circumstances give the
characters’ opponents a distinct advan-
tage. Other times, the PCs have an
advantage. Adjust the XP award and the
EL depending on how greatly circum-
stances change the encounter’s difficulty.
Encounters of EL 2 or lower are the
exception. They increase and decrease in
proportion to the change in XP. For example,
an EL 1 encounter that’s twice as difficult as
normal is EL 2, not EL 3.
You can, of course, increase or decrease XP
by smaller amounts, such as +10% or –10%,
and just eyeball the EL.
Modify all ELs and experience rewards
as you see fit, but keep these points in
mind.
•Experience points drive the game.
Don’t be too stingy or too generous.
•Most encounters do not need modi-
fying. Don’t waste a lot of time
worrying about the minutiae.
Don’t worry about modifying encounters until after you have
played the game a while.
•Bad rolls or poor choices on the PCs’
part should not modify ELs or XP
awards. If the encounter is difficult
because the players were unlucky
or careless, they dont get more
experience.
•Just because the PCs are
worn down from prior encoun-
ters does not mean that later (more
difficult) encounters should gain
higher awards. Judge the difficulty of an
encounter on its own merits.
Assigning Ad Hoc XP Awards
Sometimes the XP table doesn’t quite
cover a given situation. If two orcs
are an EL 1 encounter, four orcs EL
3, eight orcs EL 5, and sixteen orcs
EL 7 (maybe), are thirty-two orcs
an EL 9 encounter? A party of 9th
level characters almost certainly
can wipe them out with ease. By 9th
level, a characters defenses are so
good that a standard orc cannot hit
him or her, and one or two spells
cast by a character of that level
could destroy all thirty-two
orcs. At such a point, your
judgment overrules what-
ever the XP table would
say.
An encoun-
ter so easy that it
uses up none or
almost none of
the PCs’ resources
shouldnt result in any
XP award at all, while a
dangerous encounter that
the PCs overcome handily
through luck or excellent
strategy is worth full XP. How-
ever, an encounter in which
the PCs defeat something far
above their own level (CRs higher
than their level by eight or more) was
probably the result of fantastic luck or a
unique set of circumstances, and thus a full
XP award may not be appropriate. You’re going
to have to make these decisions. As a guideline, the min-
imum and maximum awards given on Table 2–6: Experi-
ence Point Awards (Single Monster) for a group of a given
level are the least and most XP you should award a group.
Circumstances in your campaign may alter this, however.
You might decide that an EL 2 encounter is worth at least a little to
CHAPTER 2:
USING
THE RULES
Circumstance XP Award Adjustment EL Adjustment
Half as difficult XP × 1/2 EL –2
Significantly less difficult XP × 2/3 EL –1
Significantly more difficult XP × 1-1/2 EL +1
Twice as difficult XP × 2EL +2
VARIANT: FREE-FORM EXPERIENCE
Instead of calculating experience points, just hand out about 75 XP
times the average party level for each character in the party per
balanced encounter. Hand out more for tough encounters: 100 XP per
level per character, or even 150 XP. Award less for easy ones: 25 to 50
XP. Alternatively, you could give out 300 XP times the average party
level for each character per session, modified slightly for tough or easy
sessions.
It’s very simple to track how quickly characters gain levels using this
system. The drawback is that it generalizes PC rewards, rather than
granting them based on specific accomplishments. You risk players
becoming dissatisfied by gaining the same reward every session.
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your 10th-level party since it caused them to waste some major
spells, so you give them half the XP an EL 3 encounter would have
earned them, or 125 XP. Or you might judge that a large quantity
of CR 1 monsters is indeed an appropriate challenge for a 10th-
level party because the group had lost all their equipment before
the fight started.
STORY AWARDS
The PCs have rescued the constable’s son from the troll lair. They
leave the lair and stop their current quest so they can return the
young boy to his home and parents. Do they get experience points
for this?
Some DMs want the answer to be “Of course they do.To
accomplish this, you need to set up a system in which you can
award XP for accomplishing goals and for actions and encounters
that dont involve combat.
Sometimes you may want to estimate experience point awards
for actions that normally dont result in an XP award under the
standard system. These are called story awards, and they should
only be used by an experienced DM.
CRs for Noncombat Encounters
You could award experience points for solving a puzzle, learning a
secret, convincing an NPC to help, or escaping from a powerful
foe. Mysteries, puzzles, and roleplaying encounters (such as nego-
tiations) can be assigned Challenge Ratings, but these sorts of
awards require more ad hoc ruling on the DM’s part.
Challenge Ratings for noncombat encounters are even more of
a variable than traps. A roleplaying encounter should only be con-
sidered a challenge at all if there’s some risk involved and success
or failure really matters. For example, the PCs encounter an NPC
who knows the secret password to get into a magical prison that
holds their companion. The PCs must get the information out of
her—if they don’t, their friend remains trapped forever. In an-
other instance, the characters must cross a raging river by wading,
swimming, or climbing across a rope. If they fail, they can’t get to
where the magic gem lies, and if they fail spectacularly, they are
washed away down the river.
You might see such situations as having a Challenge Rating
equal to the level of the party. Simple puzzles and minor encoun-
ters should have a CR lower than the partys level, if they are worth
an award at all. They should never have a CR higher than the
partys level. As a rule, you probably don’t want to hand out a lot of
experience for these kinds of encounters unless you intentionally
want to run a low-combat game.
In the end, this kind of story award feels pretty much like a
standard award. Dont ever feel obligated to give out XP for an en-
counter that you dont feel was much of a challenge. Remember
that the key word in “experience award” is award. The PCs should
have to do something impressive to get an award.
Mission Goals
Often an adventure has a mission or a goal that pulls the PCs into
the action. Should the PCs accomplish their goal, they may get a
story award. No Challenge Ratings are involved here: The XP
award is entirely up to you.
Such rewards should be fairly large—large enough to seem sig-
nificant when compared to the standard awards earned along the
way toward achieving the mission goal. The mission award should
be more than the XP for any single encounter on the mission, but
not more than all standard awards for encounters for the mission
put together (see Story Awards and Standard Awards, below).
Potentially, you could give out only story awards and no standard
awards. In this nonstandard game, the mission award would be the
main contributor to the PCs’ experience point totals.
It’s possible that in a single adventure a party can have multiple
goals. Sometimes the goals are all known at the outset: Unchain
the gold dragon, destroy or imprison the two black dragons, and
find the lost staff of healing. Sometimes the next goal is discovered
when the first one is accomplished: Now that the illithid is dead,
find the people who were under its mental control and bring them
back to town.
Some players will want to set up personal goals for their char-
acters. Perhaps the PC paladin holds a grudge against the night
hag from when they encountered her before. Although not crit-
ical to the adventure at hand, it becomes his personal goal to
avenge the wrongs she committed by destroying her. Or,
another character wants to find the magic item that will enable
her to return to her home village and stop the plague. These are
worthy goals, and the individual character who achieves them
should get a special award. “I want to get more powerful” is not
an individual goal, since thats what just about everyone wants
to accomplish.
Remember: A goal that’s easy to accomplish is worth little or no
award. Likewise, goals that merely reflect standard awards (such as
“Kill all the monsters in this cavern complex”) should be treated as
standard awards.
Roleplaying Awards
A player who enjoys playing a role well may sometimes make
decisions that fit his or her character but don’t necessarily lead to
the most favorable outcome for that character. Good roleplayers
might perform some deeds that seem particularly fitting for
their characters. Someone playing a bard might compose a short
poem about events in the campaign. A smart-aleck sorcerer
might crack an in-game joke that sends the other players to the
floor laughing. Another player might have his character fall in
love with an NPC and then devote some portion of his time to
playing out that love affair. Such roleplaying should be
rewarded, since it enhances the game. (If it doesnt enhance the
game, dont give an award.)
CHAPTER 2:
USING
THE RULES
VARIANT: FASTER OR SLOWER EXPERIENCE
You control the pace of character progress, and the easiest way to do
that is through experience point awards. Obviously, if you want the
characters to progress faster, simply make every award 10%, 20%, or
even 50% larger. If you want characters to progress more slowly, give
awards that are some suitable fraction of the original award.
When modifying awards in this way, keep track of the amount of
change you impose on the PCs’ progress. You need to balance this with
the pace of treasure awarded. For example, if you increase the amount
of experience earned by the characters by 20% across the board, trea-
sure also needs to increase by 20%, or else the PCs end up poor and
underequipped for their level.
Modifying Challenge Ratings
The other way to modify character progress is to modify the Challenge
Ratings of monsters encountered. If you increase the CRs, you increase
the experience awards and speed up advancement.
Of course, whether or not you want to change character progress,
you may decide to modify various Challenge Ratings. If you think that
a certain monster is worth more (or less) than its Monster Manual
rating, feel free to change it. Keep in mind, however, that just because
the PCs in your campaign happen to all have bane weapons useful
against aberrations, that doesn’t necessarily make beholders a lesser
challenge overall. It just means that your party is particularly well
equipped to deal with their challenge.
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XP awards for roleplaying are purely ad hoc. That is, no system
exists for assigning Challenge Ratings to bits of roleplaying. The
awards should be just large enough for the player to notice them,
probably no more than 50 XP per character level per adventure.
Story Awards and Standard Awards
You can handle story awards in one of two ways. The first is to
make all awards story awards. Thus, killing monsters would earn
no experience in and of itself—although it may allow characters
to achieve what they need to do in order to earn a story award. If
you follow this method, you should still pay attention to how
many experience points the characters would be earning by
defeating enemies, so that you can make sure the PCs’ treasure
totals are in line with what they should be earning.
The second way is to use standard awards for defeating enemies
but award only half the normal amount for doing so, making up
the other half through story awards. This method has the virtue of
keeping the treasure earned at about the same rate as XP earned.
Don’t simply add story awards to standard awards (even if
you compensate by giving out more treasure as well) unless
you want to speed up character progression.
EXPERIENCE PENALTIES
Characters can lose experience points by casting certain
spells or creating magic items. This allocation of personal
power serves a specific game function: It limits and controls
these activities, as well as making them interesting choices for
players. In general, however, you shouldnt use experience
penalties in any other situation. While awards can be used to
encourage behavior, penalties dont serve to discourage bad
behavior. They usually only lead to arguments and anger. If a
player behaves in a way you dont want him to behave, talk to
him about it. If he continues, stop playing with him.
DEATH AND EXPERIENCE POINTS
If a character takes part in an encounter, even if she dies
during the encounter, that character gets a share of the experi-
ence points. If a character dies and is raised, the awarded
experience points are granted to her after she comes back
from the dead (and after she loses the level from death, if
appropriate).
TREASURE AND OTHER REWARDS
Unless you’re making up an adventure as you go, you assign
treasure as you make up encounters. The rules for treasure and
other rewards appear in Chapter 3: Adventures.
CHARACTER DEATH
It happens. Adventuring is a high-risk enterprise. Characters in
your campaign will die, sometimes because they were reckless and
sometimes because luck was against them. Fortunately, D&D is a
game, and death doesnt have to be the end.
Raise dead, reincarnation, resurrection, and true resurrection can
return characters to life. Bringing Back the Dead, on page 171 of
the Players Handbook, briefly discusses all four. Any creature
brought back to life loses one level of experience, unless brought
back with true resurrection. The characters new XP total is midway
between the minimum needed for his or her new level and the
minimum needed for the next one. If the character was 1st level,
he or she loses 2 points of Constitution instead of losing a level.
This level loss or Constitution loss cannot be repaired by any
mortal spell, even wish or miracle. Still, the revived character can
improve his or her Constitution normally (at 4th, 8th, 12th, 16th,
and 20th level) and earn experience by further adventuring to
regain the lost level.
Raise dead has a number of limitations. The caster can only
raise characters who have been dead up to one day per caster
level. Casting time is a single minute. It does heal 1 hit point
per Hit Die, but the body of the raised character must be
whole. Raise dead doesnt regenerate missing body parts.
Paying someone to cast raise dead costs 450 gp (assuming a 9th-
level caster) plus 5,000 gp for expensive material components.
Reincarnate brings back creatures dead one week or less, but
in entirely new bodies. The subject of the spell faces the same
level loss or Constitution loss as with other spells. Paying some-
one to cast reincarnate costs 1,280 gp (assuming a 7th-level
caster), making it the least expensive option. The drawback, of
course, is that the player has no control over the new form
and may not be welcome in civilized society.
Resurrection must be cast within 10 years per
caster level of the time of death. It
works as long as some small
portion of the characters
body still exists.
CHAPTER 2:
USING
THE RULES
BEHIND THE CURTAIN:
EXPERIENCE POINTS
The experience point award for encounters is based on the concept
that 13.33 encounters of an EL equal to the player characters’ level
allow them to gain a level.
Thirteen or fourteen encounters can seem to go by very quickly.
This is particularly true at low levels, where most of the encounters
that characters take part in are appropriate for their levels. At higher
levels, the PCs face a varied range of Encounter Levels (more lower
than higher, if they’re to survive) and thus gain levels somewhat
more slowly. Higher-level characters also tend to spend more and
more time interacting with each other and with NPCs, which results
in fewer XP over time.
With this information in mind, you can roughly gauge how quickly
the PCs in your game will advance. In fact, you can control it. You are
in charge of what encounters happen and the circumstances in which
they occur. You can predict at what level the characters will reach the
dark temple and prepare accordingly. If it turns out that you predicted
incorrectly, you can engineer encounters to allow them to reach the
appropriate level or increase the difficulty of the temple encounters
as needed.
Published adventures always provide a guideline for which levels
of characters are appropriate to play. Keep in mind that this infor-
mation is based on character power as well as expected treasure.
Table 5–1: Character Wealth by Level gives a guideline for about how
much treasure a character of a certain level should possess. This
guideline is based on the (slightly more than) thirteen-encounters-
per-level formula and assumes average treasures were given out. If
you use a published adventure but tend to be generous with experi-
ence points, you might find that the characters in your group don’t
have as much treasure as the scenario assumes. Likewise, if you’re
stingy with experience points, the characters will probably gain trea-
sure faster than levels. Of course, if you’re stingy or generous with
both treasure and experience points, it might just all even out.
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Casting time is a full 10 minutes. It heals the character completely
when cast, but the character suffers the same level loss or Constitu-
tion loss as with raise dead. Paying someone to cast resurrection costs
910 gp (assuming a 13th-level caster) plus 10,000 gp for expensive
material components.
True resurrection, like resurrection, can be cast on a character who
has been dead for up to 10 years per caster level. No part of the
deceased is required for the spell. Casting time is a full 10 minutes.
True resurrection restores a character completely, with no loss of
level or Constitution. This is the most expensive of these spells to
have cast. Paying someone to cast true resurrection costs 1,530 gp
(assuming a 17th-level caster) plus 25,000 gp for expensive mate-
rial components.
MAKING A NEW CHARACTER
A player may decide that she wants to make a new character rather
than continue adventuring with her existing one. Or maybe
you’ve recruited a new player for your campaign. When a player
makes a new character for your game, you have an important
choice to make: What level will the new character be?
In general, D&D encourages continuity of characters in the
adventuring group. Players get a greater sense of accomplish-
ment if they develop their characters over time. The group is
more effective—and has more fun—if they learn the strengths,
weaknesses, and quirks of the PCs they’re adventuring with. A
sense of teamwork is hard to develop if the roster of PCs is
always shifting.
But there are times when making a new character is the best
option. Under the following circumstances, a new character may
be warranted.
•A new player joins the campaign.
•An existing PC dies, and the party doesn’t have access to magic
that brings her back to life.
•An existing PC is unable to adventure for an extended period of
time. Perhaps he was turned to stone by a medusa cult, which
then absconded with the statue. The rest of the party intends to
rescue him, but until that happens, he should have another
character to play so hes not left out.
•The players find they don’t have a character to cover a key party
role. If the player of the sole PC cleric moves away, another
player might make up a new cleric so the party still has access
to healing magic.
•An existing PC has become difficult to play, and the player is
amenable to a new character. Perhaps you allowed an ogre
barbarian PC into your game, but the players find they prefer
political intrigues and urban adventures.
•A player is eager to try a new race or class.
How you handle each of these situations is up to you. Choosing
a level for the new character is matter of finding the balance point
where a new character is viable and fun to play without outshin-
ing the other PCs.
Under most circumstances, a new character should begin play
at the beginning of the level lower than the player’s previous PC.
For example, if a player wants his 9th-level paladin to ride off
into the sunset, his new character starts with 28,000 XP, the
beginning of 8th level. A new player should create his first char-
acter at the beginning of the level where the lowest-level exist-
ing PC is.
In some circumstances, you might want to be more lenient. If
the lowest-level PC is magically imprisoned, you can let that
player create a new, temporary character at the same level until the
original PC is rescued. But avoid situations where a player would
be punished for sticking with an existing PC rather than creating
a new one. It’s bad for continuity if a player picks a brand-new
10th-level character over a longtime PC who will come back from
the dead at 9th level.
You also need to tell the player creating the new character how
much gear to have. The new PC should have the proper equip-
ment to be an effective character, but his weapons, armor, and
magic items shouldnt be so good that they inspire jealousy among
the other players. Two factors determine how much gear to allow:
the average amount of gear among the other PCs and whether the
new PC will have access to an old PC’s gear.
As long as your campaign is reasonably close to the PC gear
guidelines outlined in Creating PCs above 1st Level (page 199),
you can use Table 5–1: Character Wealth by Level to set the gear.
For example, a new 13th-level character should have 110,000 gp
in gear. If your characters are more than 20% higher or lower
than the values on the table, adjust the gear value for the new
character by the same percentage. If the three 12th-level charac-
ters each have 132,000 gp in equipment (50% above the norm of
88,000), give a new 11th-level character 99,000 gp (50% above the
norm of 66,000).
If the new character is replacing an old PC, reduce the trea-
sure amount by whatever the old PC leaves behind. For example,
if a player creates a new 3rd-level druid because her 4th-level
druid died, she can just pick up the old PC’s gear and use it,
rather than getting a gear allowance from you. But if the player
makes a 3rd-level rogue instead, the gear of a 4th-level druid
wont be as useful. If the party sells the druid’s gear for 1,000 gp,
give the new 3rd-level rogue a gear allowance of 1,700 gp so the
character will have a total of 2,700 gp in equipment. If the party
instead buries the druid with her equipment, give the rogue
2,700 gp worth of equipment.
As a general rule, a new character can spend no more than half
her total wealth on a single item, and no more than one quarter
the total wealth on consumables such as ammunition, scrolls,
potions, wands, or alchemical items.
CHAPTER 2:
USING
THE RULES
BEHIND THE CURTAIN:
WHEN A PC FALLS BEHIND
D&D works best when all the PCs are within a level or two of each
other. The classes are carefully balanced against each other at each
level, and the Challenge Rating system gives you great freedom to
design appropriate challenges that are fun for everyone at the table.
But often an unlucky PC—or the PC of a sometimes-absent player—
will fall behind the rest of the party. If the difference is one or two levels,
you don’t need to do anything special. The experience point system
gives bigger awards to lower-level PCs, so a character who’s behind by
a level or two will naturally catch up over time. For example, if a party of
three 9th-level PCs and one 7th-level PC defeat a CR 9 vrock, the 9th-
level PCs each get 675 XP (2,700 ÷4), but the 7th-level PC gets (4,200
÷4) 1,050 XP.
The experience point system will diminish a three-level gap over
time, but it might not erase it. And a PC four or more levels behind
the rest of the party is a recipe for trouble. An encounter challeng-
ing to the rest of the party is overwhelming to the lowest-level char-
acter, increasing the likelihood that character will die—and thus
fall further behind. The player of the lowest-level character might
feel like his character can’t do anything useful, and the other play-
ers might resent having to keep the lowest-level character out of
harm’s way.
If a PC falls that far behind the rest of the party, take action to restore
a semblance of balance. You can discuss a new character with the
player, write a solo adventure for that character to earn the XP needed
to catch up, or design encounters that simultaneously provide chal-
lenges appropriate for the low-level player and the rest of the PCs.
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reating adventures is one of the great benefits of being a
Dungeon Master. It’s a way to express yourself creatively,
designing fantastic places and events filled with monsters
and imaginative elements of all kinds. When you design
an adventure, you call the shots. You do things exactly the
way you want to. Designing an adventure can be a lot of work, but
the rewards are great. Your players will thrill at the challenges and
mysteries you have created for them. Experienced DMs pride
themselves on masterful adventures, creative new situations and
locales, and intriguing NPCs. A well-honed encounter—whether
its a monster, a trap, or an NPC who must be reasoned with—can
be a thing of beauty.
“What is an adventure?” isnt as easy a question to answer as you
might think. While a campaign is made up of adventures, it’s not
always clear where one adventure ends and another begins.
Adventures can be so varied that it’s tough to pin down the basics.
This chapter is going to try to help you do that.
An adventure starts with some sort of hook, whether it’s a
rumor of treasure in an old, abandoned monastery or a plea for
help from the queen. The hook is what draws the PCs into the
action and gets them to the point where the story of the adven-
ture truly begins. This point might be a location (such as the mon-
astery or the queens palace) or an event (the theft of the queens
scepter, which the PCs are tasked with recovering).
Adventures are broken down into encounters. Encounters are
typically keyed to areas on a map that you have prepared.
Encounters can also be designed in the form of if/then state-
ments: “If the PCs wait outside the druid’s grove for more than an
hour, then his three trained dire bears attack.The encounters of
an adventure are all linked in some way, whether in theme (all
the encounters that occur as they travel from the City of Grey-
hawk to the Crystalmist Mountains), location (all the
encounters in the ruins of Castle Temerity), or events (all
the encounters that occur as the PCs attempt to rescue the
mayors son from Rahurg the ogre king).
MOTIVATION
Motivation is what drives the adventure—its what gets
the PCs involved in whatever you have designed for them
to do. If the PCs arent motivated, they won’t do what you
want them to, and all your work will be wasted. Greed,
fear, revenge, need, morality, anger, and curiosity are all
powerful motivators. So, of course, is fun. Never forget
that last one.
Writing an adventure with strong motivation is
really a matter of knowing what style of game you and
your players prefer (see page 7 for a discussion of dif-
ferent playing styles).
TAILORED OR STATUS QUO
Tailored motivations are ones that you have specifi-
cally designed with your groups PCs in mind. Here
are just a few of many possible examples.
•The PCs are a hardened group of mercenaries, not
interested in the pleas of innocents or the stories
of evil that threatens some good kingdom.
However, they are quite interested in gold. . . .
•Mialee the wizard has been slain by the gargoyles in the
Caverns of Dread. Now the other PCs seek a means
to raise her. They know of a good-hearted cleric of
Pelor to the south, in the city of Dyvers. When
Illus. by A. Swekel
they arrive, the cleric is willing to raise Mialee, but only if the PCs
help him by ridding the temple’s lower level of wererats. . . .
•You know that the party has just finished clearing out a wizard’s
tower and has lots of treasure. Therefore, you dont lure them to
the next adventure using the promise of gold, but instead with
the rumor that the wizard isnt dead, but has risen as a vampire
and has sworn revenge. . . .
•Tordek’s brother Ralcoss comes to the PCs, explains that a
terrible tragedy has beset the dwarven city of Dumadan, and
asks for their help . . .
A status quo motivation isnt really a motivation in the strict sense
of the word. Its the fact that (for instance) adventure awaits in the
Lost Valley for anyone who dares brave the wyvern-haunted cliffs
that surround the place. The PCs can go there or not, depending
on how they feel.
While a tailored motivation is good for ensuring that the PCs end
up in the adventure you have designed and for letting the players
feel that their characters have a real place in the world, a status quo
motivation allows you to set up situations unrelated to the PCs
specifically. Doing this creates a sense of perspective, the feeling
that the campaign world is a real place that extends beyond the PCs.
STRUCTURE
An adventure runs its course from the beginning to an ending.
Some adventures are completed in an hour. Others take months of
playing sessions. Length is up to you, although it’s smart to plan
ahead and know roughly how many sessions an adventure will last
(and make sure that the current group of players can commit to
that length). Following are some guidelines to keep in mind for
structuring good adventures and avoiding bad ones.
GOOD STRUCTURE
Good adventures are fun. Thats an easy generalization, but it’s also
true. An adventure that everyone enjoys likely includes the fol-
lowing features.
Choices: A good adventure has at least a few points where the
players need to make important decisions. What they decide should
have significant impact on what happens next. A choice can be as
simple as the players deciding not to go down the corridor to the
left (where the pyrohydra waits for them) and instead going to the
right (toward the magic fountain), or as complex as the PCs decid-
ing not to help the queen against the grand vizier (so that she ends
up being assassinated and the viziers puppet gains the throne).
CHAPTER 3:
ADVENTURES
ONE HUNDRED ADVENTURE IDEAS
Use the following list for spur-of-the-moment adventure seeds or for
generating ideas.
d% Adventure Idea
1Thieves steal the crown jewels.
2A dragon flies into a town and demands tribute.
3The tomb of an old wizard has been discovered.
4Wealthy merchants are being killed in their homes.
5The statue in the town square is found to be a petrified paladin.
6A caravan of important goods is about to leave for a trip
through a dangerous area.
7Cultists are kidnapping potential sacrifices.
8Goblins riding spider eaters have been attacking the outskirts
of a town.
9Local bandits have joined forces with a tribe of bugbears.
10 A blackguard is organizing monsters in an area.
11 A gate to the lower planes threatens to bring more demons to
the world.
12 Miners have accidentally released something awful that once
was buried deep.
13 A wizards’ guild challenges the ruling council.
14 Racial tensions rise between humans and elves.
15 A mysterious fog brings ghosts into town.
16 The holy symbol of a high priest is missing.
17 An evil wizard has developed a new kind of golem.
18 Someone in town is a werewolf.
19 Slavers continue to raid a local community.
20 A fire elemental escapes from a wizard’s lab.
21 Bugbears are demanding a toll on a well-traveled bridge.
22 A mirror of opposition has created an evil duplicate of a hero.
23 Two orc tribes wage a bloody war.
24 New construction reveals a previously unknown underground
tomb.
25 A nearby kingdom launches an invasion.
26 Two well-known heroes fight a duel.
27 An ancient sword must be recovered to defeat a ravaging
monster.
28 A prophecy foretells of coming doom unless an artifact is
recovered.
29 Ogres kidnap the mayor’s daughter.
30 A wizard is buried in a trap-filled tomb with her powerful magic
items.
31 An enchanter is compelling others to steal for him.
32 A shapechanged mind flayer is gathering mentally controlled
servitors.
33 A plague brought by wererats threatens a community.
34 The keys to disarming all the magic traps in a wizard’s tower
have gone missing.
35 Sahuagin are being driven out of the sea to attack coastal
villages.
36 Gravediggers discover a huge, ghoul-filled catacomb under the
cemetery.
37 A wizard needs a particularly rare spell component found only
in the deep jungle.
38 A map showing the location of an ancient magic forge is
discovered.
39 Various monsters have long preyed upon people from within
the sewers of a major city.
40 An emissary going into a hostile kingdom needs an escort.
41 Vampires are preying upon a small town.
42 A haunted tower is reputed to be filled with treasure.
43 Barbarians begin tearing up a village in a violent rage.
44 Giants steal cattle from local farmers.
45 Unexplained snowstorms bring winter wolves into an otherwise
peaceful area.
46 A lonely mountain pass is guarded by a powerful sphinx
denying all passage.
47 Evil mercenaries begin constructing a fortress not far from a
community.
48 An antidote to a magic poison must be found before the duke
dies.
49 A druid needs help defending her grove against goblins.
50 An ancient curse is turning innocent people into evil murderers.
51 Gargoyles are killing giant eagles in the mountains.
52 Mysterious merchants sell faulty magic items in town and then
attempt to slink away.
53 A recently recovered artifact causes arcane spellcasters’ powers
to go awry.
54 An evil noble puts a price on a good noble’s head.
55 Adventurers exploring a dungeon have not returned in a week.
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Difficult Choices: When a choice has a significant consequence, it
should sometimes be a difficult one to make. Should the PCs help
the church of Heironeous wage war on the goblins, even though
the conflict will almost certainly keep them from reaching the
Fortress of Nast before the evil duke summons the slaadi assassins?
Should the PCs trust the words of a dragon, or ignore her warning?
Different Sorts of Encounters: A good adventure should pro-
vide a number of different experiencesattack, defense, prob-
lem-solving, roleplaying, and investigation. Make sure you vary
the kinds of encounters the adventure provides (see Encounters,
page 48).
Exciting Events: Like a well-told story, a good adventure
should have rising and falling tension. This sort of pacing is easier
to accomplish with an event-based adventure (since you have
more control over when each encounter takes place), but its pos-
sible in a site-based adventure to design a locale where the
encounters are likely to occur in a desired fashion. Make sure to
pace events appropriately. Start slowly and have the action build. A
climactic encounter always makes for a good ending.
Encounters that Make Use of PC Abilities: If the partys
wizard or sorcerer can cast fly, think about incorporating aerial
encounters into the adventure. When theres a cleric along, occa-
sionally include undead that she can use her turning ability on. If
the party has a ranger or a druid, include encounters with animals
(dire animals can make challenging encounters for even mid- to
high-level PCs; see the Monster Manual for more information). The
advice to remember is “Everyone gets a chance to shine.” All abili-
ties available to PCs were designed to make the characters better,
but an ability (or a spell) that a character never gets to use is a waste.
BAD STRUCTURE
Try to avoid the pitfalls described below.
Leading the PCs by the Nose: A bad event-based adventure is
marked by mandates restricting PC actions or is based on events
that occur no matter what the PCs do. For example, a plot that
hinges on the PCs finding a mysterious heirloom, only to have it
stolen by NPCs, is dangerous—if the players invent a good way to
protect the heirloom, they wont like having it stolen anyway just
because thats what you had planned beforehand. The players end
up feeling powerless and frustrated. No matter what, all adven-
tures should depend upon player choices, and players should feel
as though what they choose to do matters. The results should
affect the campaign setting (albeit perhaps in minor ways), and
they should have consequences (good or bad) for the PCs.
CHAPTER 3:
ADVENTURES
56 The funeral for a good fighter is disrupted by enemies he made
while alive.
57 Colossal vermin are straying out of the desert to attack
settlements.
58 An evil tyrant outlaws nonofficially sanctioned magic use.
59 A huge dire wolf, apparently immune to magic, is organizing
the wolves in the wood.
60 A community of gnomes builds a flying ship.
61 An island at the center of the lake is actually the top of a
strange, submerged fortress.
62 Buried below the Tree of the World lies the Master Clock of
Time.
63 A child wanders into a vast necropolis, and dusk approaches
quickly.
64 All the dwarves in an underground city have disappeared.
65 A strange green smoke billows out of a cave near a mysterious
ruin.
66 Mysterious groaning sounds come from a haunted wood at
night.
67 Thieves steal a great treasure and flee into Mordenkainen’s
magnificent mansion.
68 A sorcerer attempts to travel ethereally but disappears
completely in the process.
69 A paladin’s quest for atonement leads her to a troll lair too well
defended for her to tackle alone.
70 A kingdom known for its wizards prepares for war.
71 The high priest is an illusion.
72 A new noble seeks to clear a patch of wilderness of all
monsters.
73 A bulette is tearing apart viable farmland.
74 An infestation of stirges drives yuan-ti closer to civilized lands.
75 Treants in the woods are threatened by a huge fire of
mysterious origin.
76 Clerics who have resurrected a long-dead hero discover she’s
not what they thought.
77 A sorrowful bard tells a tale of his imprisoned companions.
78 Evil nobles create an adventurers’ guild to monitor and control
adventurers.
79 A halfling caravan must traverse an ankheg-infested wilderness.
80 All the doors in the king’s castle are suddenly arcane locked and
fire trapped.
81 An innocent man, about to be hanged, pleads for someone to
help him.
82 The tomb of a powerful wizard, filled with magic items, has
sunk into the swamp.
83 Someone is sabotaging wagons and carts to come apart when
they travel at high speed.
84 A certain kind of frogs, found only in an isolated valley, fall like
rain on a major city.
85 A jealous rival threatens to stop a well-attended wedding.
86 A woman who mysteriously vanished years ago is seen walking
on the surface of a lake.
87 An earthquake uncovers a previously unknown dungeon.
88 A wronged half-elf needs a champion to fight for her in a
gladiatorial trial.
89 At the eye of the storm that tears across the land lies a floating
citadel.
90 People grow suspicious of half-orc merchants peddling gold
dragon parts in the market.
91 An absentminded wizard lets her rod of wonder fall into the
wrong hands.
92 Undead shadows vex a large library, especially an old storeroom
long left undisturbed.
93 The door into an abandoned house in the middle of town turns
out to be a magic portal.
94 Barge pirates make a deal with a covey of hags and exact a high
toll to use the river.
95 Two parts of a magic item are in the hands of bitter enemies;
the third piece is lost.
96 A flight of wyverns is preying upon sheep as well as shepherds.
97 Evil clerics gather in secret to summon a monstrous god to the
world.
98 A city faces a siege by a force of humans, duergar, and gnolls.
99 A huge gemstone supposedly lies within a ruined monastery.
100 Lizardfolk riding dragon turtles sell their services as
mercenaries to the highest bidder.
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PCs as Spectators: In this kind of bad adventure, NPCs
accomplish all the important tasks. There might be an interesting
story going on, but its going on around the PCs, and they have
very little to do with it. As much as you might like one of your
NPCs, resist the urge to have him or her accomplish everything
instead of letting the PCs do the work. As great as it might be to
have your big NPC hero fight the evil wizard (also an NPC)
threatening the land, it’s not much fun for the players if all they
get to do is watch.
Deus ex Machina: Similar to the “PCs as spectators” problem is
the potential pitfall of the deus ex machina, a term used to describe
the ending to a story in which the action is resolved by the inter-
vention of some outside agency rather than by the characters’ own
actions. Dont put the PCs in situations in which they can only sur-
vive through the intervention of others. Sometimes it’s interesting
to be rescued, but using this sort of “escape hatch” gets frustrating
for the players quickly. Players would rather defeat a young dragon
on their own than face an ancient wyrm and only defeat it because
a high-level NPC teleports in to help them.
Preempting the Characters’ Abilities: It’s good to know the
PCs’ capabilities, but you shouldn’t design adventures that contin-
ually countermand or foil what they can do. If the wizard just
learned fireball, dont continually throw fire-resistant foes at him.
Don’t create dungeons where fly and teleport spells dont work, just
because its more difficult to design challenging encounters for
characters with those capabilities. Use the PCs’ abilities to allow
them to have more interesting encounters—don’t arbitrarily rule
that their powers suddenly dont work.
THE FLOW OF INFORMATION
Much of the structure of an adventure depends on what the PCs
know and when they learn it. If they know that there’s a dragon at
the bottom of the dungeon, they will conserve their strength for
that encounter and have proper spells and strategies prepared.
When they learn the identity of a traitor, they will probably act on
this information immediately. If they learn too late that their ac-
tions will cause a cavern complex to collapse, they wont be able to
keep it from happening.
Don’t give away the whole plot in one go, but do give the play-
ers some new bit of knowledge every so often. For example, if the
drow elves are the secret masters behind an uprising of giants,
slowly reveal clues to that fact. Information gained while fighting
the hill giants leads the PCs to the frost giants, which in turn gar-
ners them clues that take them to the fire giants. Only among the
fire giants do the PCs encounter information that leads them to
understand that the drow are involved. And thus the final en-
counter with those drow masters is made all the more dramatic.
In some situations, the PCs know everything they need to
know before the adventure begins. Thats okay. Occasionally, there
is no mystery. For example, the adventurers learn that a haunted
tower in the woods is inhabited by a vampire and her minions.
They go in with stakes and holy water, slay a bunch of undead, and
finally meet up with the vampire and take her out. Thats a fine
adventure. Sometimes, however, a surprise that the PCs never
could have seen coming makes it all the more interesting—the
vampire turns out to be a good-aligned undead resisting her blood-
lust but slowly succumbing to the temptation of an erinyes devil
who lives under the church back in town. Both the “no surprises”
and the “unexpected twist” structures work well, so long as you
avoid overusing either.
Divination Magic
Keep divination magic in mind when predetermining how
you’re going to control the flow of information. Dont deny the
spells their potency. Instead, learn what they can and cannot do,
and plan for the PCs to use them. (See Handling Divinations,
page 34). After all, if you have assumed that they would cast the
proper spells and they dont use whats available to them, they
deserve to fail.
SITE-BASED ADVENTURES
The Tomb of Horrors, the Temple of Elemental Evil, the Ghost
Tower of Inverness—these are places of legend, mystery, and ad-
venture. If you create an adventure based around some place—a
dungeon, a ruin, a mountain, a valley, a cave complex, a wilderness,
a town—then you have created a site-based adventure. Site-based
adventures revolve around a map with a key, detailing important
spots on that map. Encounters in the adventure are triggered
when the PCs enter a new location at the site. The implication is
that each encounter describes what occurs at that site when the
PCs arrive (or arrive for the first time).
Creating a site-based adventure involves two steps: drawing a
map and keying the encounters.
Draw a Map: Graph paper is useful for mapping out dungeons,
because you can assign a scale for the squares, such as 5 feet or 10
feet per square. The printed gridlines also aid in drawing straight
lines (particularly useful when you’re mapping the interior of a
CHAPTER 3:
ADVENTURES
ADVENTURE WRITER’S CHECKLIST
If you want to write an adventure but aren’t sure where to start, just
work your way down the checklist below. Each entry corresponds to a
section found later in this chapter.
Brainstorm one or more motivations for the adventure, keeping in
mind the style of play you prefer. Why will the PCs put their lives at risk?
Decide whether you want a site-based adventure, an event-based
adventure, or an adventure that incorporates both.
If it’s a site-based adventure, imagine where the adventure will take
place. You don’t need to know every detail yet, just a broad sense of
what the place is like.
If it’s an event-based adventure, imagine the starting scene, a likely
climax scene, and a few “set piece” intermediate scenes you think
would be fun.
Choose the most important antagonists for the PCs. If allies,
patrons, or other NPCs are important, think about them too.
Begin assembling your adventure. If it’s a site-based adventure,
sketch out the site and decide where your important NPCs spend
most of their time. If it’s an event-based adventure, identify the most
likely sequences of events that take the PCs from the beginning
scene to the climax, hitting one or more of the important intermedi-
ate scenes along the way.
Fill in the details. Create the areas and scenes that aren’t integral to
the adventure but may be fun or challenging nonetheless. Draw the
maps you’ll need, build the NPCs, and create any random encoun-
ters you want for the adventure.
Check your work. Examine what you’ve done, but think like your play-
ers. Is there a clever way to bypass many of the adventure’s chal-
lenges? Think of ways to reward cleverness without rendering the
adventure obsolete.
Now that you’ve worked your way down the checklist, here’s a secret:
You don’t have to do the items in order. You can just as easily start by
saying, “I want to write an adventure with mind flayer assassins as the
main villains,” starting with the antagonists and making the other
choices later. You might design a site first, then figure out how to entice
the characters inside. But it’s always a good idea to start with motiva-
tion, because it’s the energy that gets your adventure off the ground.
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building or a dungeon). Mark important areas with numbers or
letters that reference the map key. Make notes on the map describ-
ing anything of importance, including room contents (statues,
pools, furniture, pillars, steps, pits, curtains, and so on). Plan out
which areas are linked by similar or allied inhabitants. Place traps,
taking care to note particularly the location of trap triggers. Con-
sider spell ranges—if an NPC wizard is in a particular area and you
know that she might cast a particular spell, save yourself time
during the playing of the adventure by noting now how far the
spell effect can extend.
As you map out the site, think about how you’ll depict each area
at the gaming table. Its a bad idea, for example, to design a site
with many areas that are larger than the grid you place your minia-
tures on. If it’s likely that characters will travel back and forth
between two adjacent rooms, make each of the rooms small
enough to fit both of them on the tabletop grid at the same time.
Remember that the player characters are catalysts for change.
While you play, note changes caused by the PCs’ presence—pos-
sibly even writing them directly on the map. That way its easier to
remember, on the second time they pass through an area, which
doors they have knocked down, which traps they have triggered,
which treasures they have looted, which guardians they have
defeated, and so forth.
Create a Key: A map key is a set of notes (as detailed or brief as
you need them to be) detailing each areas contents, NPCs
(description, statistics, possible actions), and whatever else makes
the place special. For example, on an outdoor map you might mark
an area that triggers a landslide if crossed, a bridge over the river
guarded by lizardfolk, and the lair of a basilisk—complete with
details about the interior of the lair and the treasure formerly in
the possession of the half-eaten, petrified victims in the back.
Each entry should include the game information needed to run
that encounter. If an area has nothing to write about, dont bother
marking it on the key.
Most dungeon adventures are site-based. See The Dungeon,
page 57, as well as the sample dungeon adventure that begins on
page 78.
A site-based adventure allows the PCs to drive the action. If
they come to a fork in the path, they’re free to choose whichever
way they want. It doesnt matter which path they choose, or if they
never go down one path at all. The characters can leave the loca-
tion and come back, often resuming the adventure exactly where
they left off (although some aspects of the site may have changed,
depending on how static the site is; see below).
A site-based adventure is easy to run once you’ve made all the
preparations. All the information is right there in front of you, on
the map and in the key. Between the two of them, you should be
able to handle any sort of action the PCs may take during the
adventure.
Site-based adventures often lure PCs based simply on the repu-
tation of the site, but sometimes an event triggers a site-based
adventure, drawing the PCs to the location. Once they are at the
site, your map and its key come into play.
STATIC OR DYNAMIC
Sometimes a site-based adventure takes place at a static location.
The map depicts an old ruin filled with monsters, shows where
the ancient treasures are located within the ruin, where the traps
or danger spots are located, and so on. The PCs can arrive at this
location at any time, stay as long as they desire, leave whenever
they want, and come back later to find the site pretty much the
same as they left it (although more monsters may have taken up
residence, or a few may have wandered off; maybe a trap has been
triggered by a monster and no longer threatens the PCs, or a trap
the PCs previously triggered has been reset).
Designing a static site-based adventure is fairly easy. You dont
have to think much about how the residents of the various en-
counter areas interact, and each encounter area need only be de-
signed with the most immediate implications in mind—namely,
what happens when the PCs arrive?
By contrast, a good example of a dynamic site is a drow fortress-
temple. A dynamic site usually involves some sort of intelligent
organization. As the PCs move around the site, they discover that
actions in certain areas affect encounters in other areas. For
example, if the PCs kill two of the drow priestesses in the fortress-
temple but allow a third one to escape, the fortress-temple mobi-
lizes its populace—now, defenders are moving around from loca-
tion to location and are much more likely to attack any unknown
intruders rather than ask questions. Perhaps the two dead priest-
esses rise from the dead as vampires and start creating vampire
spawn as bodyguards.
Designing a dynamic site is more complicated than designing a
static one. In addition to creating a map and a key—both of which
might be updated significantly as the adventure develops—you
must address the following issues as well.
•Formulate defensive plans for the inhabitants. “If attacked, the
guards use the gong to raise the alarm. The sound of the gong
can be heard in areas A, B, and D. The inhabitants in those areas
hastily don hide armor (5 rounds) and overturn tables to give
themselves cover. The sorcerer in area B casts mass invisibility on
himself and the barbarian.
•Develop conditional requirements for various areas. “If anyone
disturbs the three unholy gems upon the altar, the Infernal
Gates in area 5 open, allowing access to the City of Dis but also
calling 3d4 barbazu devils, who live in the dungeon by day and
come out at night to raid the countryside in a 5-mile radius.
•Determine the inhabitants’ long-term plans. “In a months time,
the goblins will have completed the wall in area 39. With that
defense to fall back on, they begin the assault on the kobold
caves in areas 32 through 37. If no one intervenes, the goblins
will clear out the kobolds in three weeks and the goblin adept
will gain the wand of lightning bolt stored in the secret vault in
area 35.
EVENT-BASED ADVENTURES
The death of the king. The Rain of Colorless Fire. The carnival’s
arrival in town. Unexplained disappearances. Merchants of Druus
looking for caravan guards. Events can lead to adventures, drawing
the PCs in and getting them involved in amazing predicaments.
When you create an an event-based adventure, you structure it
in the form of “Something happens, and if the PCs do this, then
that happens. . . .” An event-based adventure is built around a series
of events influenced by the PCs’ actions. The PCs’ reactions
change the events that occur, or the order in which they occur, or
both.
In an event-based adventure, the PCs usually have a goal or a
mission beyond “Kill all the monsters” or “Get as much treasure as
possible” or even “Explore this area.The adventure instead
focuses on the adventurers trying to accomplish something spe-
cific. The encounters in the adventure occur as an offshoot of that
effort—either as a consequence of their actions, or as opposing
forces attempting to stop them, or both.
This kind of adventure is often described as story-based,
because its more like a book or a movie and less like exploration of
a passive site. An event-based adventure usually doesnt use a
room-by-room key of a location but instead consists of notes on
which events occur when. Two of the best ways to organize these
notes are in the form of a flowchart or a timeline.
Flowchart: By drawing connected boxes or circles with event
descriptions in them, its easy to visually track the flow of events:
As the PCs investigate the murder, they question the innkeeper.
She tells them that she saw someone suspicious hanging around
the back of the livery last night. If they ask specifically about Greg-
CHAPTER 3:
ADVENTURES
ory, she tells them where he lives.” In this example, the flowchart
has two lines drawn away from the innkeeper. One goes to the
livery and the other goes to Gregory’s house, since those are the
two likely paths the PCs will take next.
Timeline: Another way to organize an event-based adventure is
by the passage of time. A timeline starts when the PCs get involved
in the story (or sometimes even before then). It marks what hap-
pens when: “One day after the PCs arrive in town, Joham comes to
them pleading for help. The next day, Joham is found dead in his
room at the inn. That evening, Gregory comes to the inn, poking
around for information to see if the body has been found.
Combination: An event-based adventure might use both a
flowchart and a timeline that are closely integrated: “If the PCs ask
the innkeeper about Gregory on the day after the murder, she tells
them where he lives. The following morning, Gregory shows up at
the inn, heavily disguised, and convinces the innkeeper that he is
being framed for the murder. She agrees to hide him. If the PCs
ask the innkeeper about Gregory after this occurs, she gives them
the location of his house—but she also tells the PCs (untruth-
fully) that Gregory has been away from town on a trip for the last
several days.
Random Encounters: Even in an adventure driven by events,
an encounter unrelated to the flow of events can serve to empha-
size (or distract from) the ongoing plot. See Table 3–28: Urban
Encounters, page 102, for an example of an event-based random
encounter table.
THE END (?)
Eventually, each adventure comes to an end. A climactic
encounter places a nice capstone on an adventure, particularly if
its one that the players have seen coming. (If the ogres they have
been fighting have been referring to a dragon, then an encounter
with the dragon is a suitable ending.)
Many adventures require a denouement—some wrap-up to
deal with the aftermath of the final encounter. This can be the
time when the PCs discover what treasure is in the dragons hoard,
a dramatic scene in the king’s court in which he thanks the adven-
turers for slaying the dragon and passes out knighthoods all
around, or a time to mourn those comrades who did not survive
the battle. Generally, the denouement should not take nearly as
long as the climax itself.
As with movies and books, adventures sometimes deserve se-
quels. Many adventures lead directly into new adventures for the
PCs, relating to what they have accomplished or discovered. If the
characters just destroyed the fortress of the evil overlord, they may
find clues within the fortress that betray the identity of a traitor on
the town council who has been secretly aiding the warlord. Per-
haps the overlord’s orc minions fled the site—where did they go?
(Orcs, no matter where they go, are sure to cause trouble!) Suppose
bandits attacked the adventurers while they were on their way to
the overlord’s fortress—going back now and finding the bandits’
lair is an adventure of both justice and vengeance.
ENCOUNTERS
As interesting as it is to talk about adventures (and the stories be-
hind them), the game is really composed of encounters. Each indi-
vidual encounter is like its own game—with a beginning, a middle,
an end, and victory conditions to determine a winner and a loser.
TAILORED OR STATUS QUO
Just as with motivations, encounters can be tailored specifically to
the PCs or not. A tailored encounter is one in which you take into
consideration that the wizard PC has a wand of invisibility and the
fighters AC is 23. In a tailored encounter, you design things to fit
the PCs and the players. In fact, you can specifically design some-
thing for each PC to dothe skeletal minotaur is a challenge for
the barbarian, another skeleton with a crossbow is on a ledge that
only the rogue can reach, only the monk can leap across the chasm
to pull the lever to raise the portcullis in front of the treasure, and
the cleric’s hide from undead spell allows her to get to the treasure
the skeletons are guarding while the battle rages.
A status quo encounter forces the PCs to adapt to the encounter
rather than the other way around. Bugbears live on Clover Hill,
and if the PCs go there, they encounter bugbears, whether bug-
bears are an appropriate encounter for them or not. This kind of
encounter gives the world a certain verisimilitude, and so its good
to mix a few in with the other sorts of encounters.
If you decide to use only status quo encounters, you should
probably let your players know about this. Some of the encounters
you place in your adventure setting will be an appropriate chal-
lenge for the PCs, but others might not be. For instance, you could
decide where the dragons lair is long before the characters are ex-
perienced enough to survive a fight against the dragon. If players
know that the setting includes status quo encounters that their
characters might not be able to handle, they will be more likely to
make the right decision if they come upon a tough encounter.
That decision, of course, is to run away and fight again another day
(when the party is better equipped to meet the challenge).
CHALLENGE RATINGS AND
ENCOUNTER LEVELS
A monsters Challenge Rating (CR) tells you the level of the party
for which that monster is a good challenge. A monster of CR 5 is
an appropriate challenge for a group of four 5th-level characters. If
the characters are of higher level than the monster, they get fewer
XP because the monster should be easier to defeat. Likewise, if the
characters are of lower level than a monsters Challenge Rating,
the PCs get a greater award.
Parties with five or more members can often take on monsters
with higher CRs, and parties of three or fewer are challenged by
monsters with lower CRs. The game rules account for these facts
by dividing the XP earned by the number of characters in the
party (see Rewards, page 36).
Multiple Monsters and Encounter Levels
Obviously, if one monster has a given Challenge Rating, more
than one monster represents a greater challenge than that. You
can use Table 3–1: Encounter Numbers to determine the
Encounter Level of a group of monsters, as well as to determine
how many monsters equate to a given Encounter Level (useful in
balancing an encounter with a PC party).
To balance an encounter with a party, determine the partys
level (the average of all the members’ character levels). You want
the party’s level to match the level of the encounter, so find that
number in the “Encounter Level” column. Then look across that
line to find the CR of the kind of creature that you want to use in
the encounter. Once you have found it, look at the top of that
column to find the number of creatures that makes a balanced
encounter for the party.
For example, suppose you want to send ogres against a 6th-level
party. The Monster Manual entry on ogres shows that they are CR 2.
Looking at the “6” row in the “Encounter Level” column, you read
across to the “2” entry and then check the top of that column to
find that four CR 2 monsters make a good 6th-level encounter. To
determine the Encounter Level of a group of monsters, reverse
these steps (begin with the number of creatures, read down to find
the CR for the creature, then look left to find the appropriate EL).
In general, if a creature’s Challenge Rating is two lower than a
given Encounter Level, then two creatures of that kind equal an
encounter of that Encounter Level. Thus, a pair of frost giants (CR
9 each) is an EL 11 encounter. The progression holds of doubling
the number of creatures for each drop of two places in their indi-
CHAPTER 3:
ADVENTURES
vidual CR, so that four CR 7 creatures (say, four hill giants) are an
EL 11 encounter, as are eight CR 5 creatures (such as shadow mas-
tiffs). This calculation does not work, however, with creatures
whose CR is 1 or lower, so be sure to use Table 3–1: Encounter
Numbers for such encounters.
Mixed Pair: When dealing with a creature whose Challenge
Rating is only one lower than the intended EL, you can raise the
EL by one by adding a second creature whose CR is three less than
the desired EL. For example, a DM wants to set up an encounter
with an aboleth (CR 7) for an 8th-level party. Two aboleths would
be EL 9, and she wants an encounter of EL 8, so she decides to give
the aboleth a companion or pet to raise the encounter to EL 8.
Checking Table 3–1: Encounter Numbers, she finds that the entry
for 8th-level encounters in the “Mixed Pair” column is “7+5.This
means that a CR 7 monster and a CR 5 monster together are an EL
8 encounter.
In general, you can treat a group of creatures as a single creature
whose CR equals the group’s EL. For example, instead of having
the PCs encounter one CR 4 creature (say, a brown bear), you
could substitute two CR 2 creatures (a pair of black bears), whose
EL together is 4. However, creatures whose CR is far below the
partys level often provide no challenge at all, so dont substitute
hordes of low-CR creatures for a single high-CR creature.
Some monsters’ CRs are fractions. For instance, a single orc (CR
1/2) is not a good challenge even for a 1st-level party. This means
that you should either calculate XP as if the orc were CR 1, then
divide by 2, or treat each pair of orcs encountered as a CR 1 monster.
Encounters with more than a dozen creatures are difficult to
judge. If you need thirteen or more creatures to provide enough
XP for a standard encounter, then those individual monsters are
probably so weak that they dont make for a good encounter. Thats
why Table 3–1 doesnt have an entry larger than twelve for
“Number of Creatures.
Table 3–1: Encounter Numbers
Encounter —————— Number of Creatures —————— Mixed
Level 1 2 3 4 5–6 7–9 10–12 Pair
11, 2 1/2 1/3 1/4 1/6 1/8 1/8 1/2+1/3
22, 3 1 1/2, 1 1/2 1/3 1/4 1/6 1+1/2
33, 4 1, 2 1 1/2, 1 1/2 1/3 1/4 2+1
43, 4, 5 2 1, 2 1 1/2, 1 1/2 1/3 3+1
54, 5, 6 3 2 1, 2 1 1/2 1/2 4+2
65, 6, 7 4 3 2 1, 2 1 1/2 5+3
7 6, 7, 8 543211/26+4
8 7, 8, 9 654321 7+5
9 8, 9, 10 765432 8+6
10 9, 10, 11 876543 9+7
11 10, 11, 12 98765410+8
12 11, 12, 13 10 9876511+9
13 12, 13, 14 11 10 987612+10
14 13, 14, 15 12 11 10 9 8 7 13+11
15 14, 15, 16 13 12 11 10 9 8 14+12
16 15, 16, 17 14 13 12 11 10 9 15+13
17 16, 17, 18 15 14 13 12 11 10 16+14
18 17, 18, 19 16 15 14 13 12 11 17+15
19 18, 19, 20 17 16 15 14 13 12 18+16
20 19+ 18 17 16 15 14 13 19+17
What’s Challenging?
So, what counts as a “challenge”? Since a game session probably
includes many encounters, you dont want to make every
encounter one that taxes the PCs to their limits. They would have
to stop the adventure and rest for an extensive period after every
fight, and that slows down the game. An encounter with an
Encounter Level (EL) equal to the PCs’ level is one that should
expend about 20% of their resources—hit points, spells, magic
item uses, and so on. This means, on average, that after about four
encounters of the party’s level the PCs need to rest, heal, and
regain spells. A fifth encounter would probably wipe them out.
The party should be able to take on many more encounters
lower than their level but fewer encounters with ELs higher than
their level. As a general rule, if the EL is two lower than the partys
level, the PCs should be able to take on twice as many encounters
before having to stop and rest. Two levels lower than that, and the
number of encounters they can cope with doubles again, and so
on. By contrast, an encounter of even one or two levels higher
than the party level might tax the PCs to their limit, although with
luck they might be able to take on two such encounters before
needing to recover. Remember that when the EL is higher than
the party level, the chance for PC fatality rises dramatically.
Single Monster Encounters
Many adventures reach their climax when the party encounters
the mastermind behind the plot, or when they track a big mon-
ster, such as a dragon or beholder, to its lair. Unfortunately,
encounters with single monsters can be very “swingy.” If the party
takes the time to use the Gather Information skill and divination
spells, they may begin the encounter immune to the monster’s
most powerful weapons. If the party wins initiative, they can gang
up on the monster and severely weaken it before it can act.
When planning adventures, consider some or all of the follow-
ing points to make single monster encounters more enjoyable.
•If your monster uses spells or magic items, prepare additional
statistics blocks that show the impact of ability enhancers and
other defensive spells and effects. Depending on how much
warning the monster has of the party’s approach, it may have all
sorts of additional defenses. Remember, though, that readying
an action is a combat action, and the monster shouldnt do this
until combat begins (no fair readying a fireball before anyone
checks for surprise or rolls for initiative).
•Prepare your monster’s tactics in advance, including what it
does if it loses the initiative roll. It may flee, or it may simply
choose a different order for its spells and attacks.
•Distract or split up the party. If the entire party can gang up on
a single opponent, the encounter can end very quickly (espe-
cially if the party wins initiative).
•Put the party in situations where they must burn resources in
order to move forward. For example, a very hot environment
might do damage every round, forcing the party to use spells
such as endure elements, or to use most of the cleric’s spells to
heal up after passing through the hot area.
•Go on the aggressive. Let the single monster attack the party
before the party has a chance to use all its ability enhancers and
defensive effects.
•Fool the party. Use lookalikes and decoys to convince the party
that a major encounter is starting, so they use lots of high-level
spells and powerful items before encountering your single
monster.
DIFFICULTY
Sometimes, the PCs encounter something thats a pushover for
them. At other times, an encounter is too difficult, and they have
to run away. A well-constructed adventure has a variety of encoun-
ters at several different levels of difficulty. Table 3–2: Encounter
Difficulty shows (in percentage terms) how many encounters of a
certain difficulty an adventure should have.
Table 3–2: Encounter Difficulty
% of Total Encounter Description
10% Easy EL lower than party level
20% Easy if handled properly Special (see below)
50% Challenging EL equals that of party
15% Very difficult EL 1–4 higher than party level
5% Overpowering EL 5+ higher than party level
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Easy: The PCs win handily with little threat to themselves. The
Encounter Level for the encounter is lower than the party level.
The group should be able to handle an almost limitless number of
these encounters.
Easy if Handled Properly: Theres a trick to this kind of encoun-
ter—a trick the PCs must discover to have a good chance of vic-
tory. Find and eliminate the evil cleric with greater invisibility first
so she stops bolstering the undead, and everything else about the
encounter becomes much easier. If not handled properly, this
kind of encounter becomes challenging or even very difficult.
Challenging: Most encounters seriously threaten at least one
member of the group in some way. These are challenging encoun-
ters, about equal in Encounter Level to the party level. The average
adventuring group should be able to handle four challenging en-
counters before they run low on spells, hit points, and other re-
sources. If an encounter doesnt cost the PCs some significant por-
tion of their resources, its not challenging.
Very Difficult: One PC might very well die. The Encounter Level
is higher than the party level. This sort of encounter may be more
dangerous than an overpowering one, because its not immedi-
ately obvious to the players that the PCs should flee.
Overpowering: The PCs should run. If they don’t, they will
almost certainly lose. The Encounter Level is five or more levels
higher than the party level.
Difficulty Factors
You have several options for making an encounter more or less dif-
ficult by changing the circumstances of the encounter to account
for some feature of the PCs’ surroundings or the makeup of the
party. For instance:
•Tight quarters make things more difficult for rogues, since it’s
harder to skulk about and gain a sneak attack.
•A spread-out force makes things more difficult for spellcasters,
since the area affected by most spells is small.
•Many lesser foes are harder for a character to engage in melee
than one powerful foe.
•Undead are much more difficult to fight without a cleric.
•Encounters involving animals or plants are much more difficult
without a druid or a ranger in the party.
•Encounters involving evil outsiders are much more difficult
without a paladin or cleric (and perhaps a wizard or sorcerer) in
the party.
•A large force is much more difficult to fight without a wizard or
sorcerer in the party.
•Locked doors and traps are much more difficult to overcome
without a rogue in the party.
•Multiple combat encounters are more difficult to win without a
fighter, a barbarian, a ranger, or a paladin in the party.
•Multiple combat encounters are more difficult to survive with-
out a cleric in the party.
•The bard and the cleric make good group support characters.
Their presence makes practically every encounter easier.
None of the above factors should necessarily be taken into
account when assigning or modifying Challenge Ratings, but you
should keep them in mind when designing encounters.
TOUGHER MONSTERS
A really big basilisk with more hit points and a higher attack
bonus than a normal basilisk is a greater challenge. If you use the
rules found in the Monster Manual for increasing the Hit Dice of
monsters, you should also increase the experience point (XP)
award for the monster appropriately. See Advanced Monster Chal-
lenge Rating, page 293 of the Monster Manual.
If a monster has levels in PC or NPC classes, see Monsters and
Class Levels, page 290 of the Monster Manual, for how to determine
its CR.
LOCATION
A fight between characters perched on a bridge made of skulls
over a pool of bubbling lava is more exciting and more dangerous
than that same fight in a nice, safe dungeon room. Location serves
two purposes, both equally important. It can make a humdrum en-
counter more interesting, and it can make an encounter easier or
much more difficult.
Making Things Interesting
Arguably, the dungeon itself is a fairly exotic locale, but eventually
the same old 30-foot-by-30-foot room starts to grow stale. Like-
wise, a trip through the dark woods can be interesting and fright-
ening, but the tenth trip through is less so. Since this is a fantasy
game, allow yourself the freedom to consider all sorts of strange
locations for encounters. Imagine an encounter inside a volcano,
along a narrow ledge on the side of a cliff, atop a flying whale, or
deep underwater. Think of the exciting location first, and then
worry about how and why the PCs would get there.
Situations within a location can have as much impact as the
location itself. If a rogue has to pick the lock on the only door out
of the top room of a tower thats collapsing, its suddenly a much
more exciting situation than just another locked door in a dun-
geon corridor. Create an encounter in which the PCs must be
diplomatic while all around them a battle rages. Fill an under-
ground cave complex with water for a different sort of dungeon
adventure. Set a series of encounters in a large wooden fort—that
happens to be on fire.
See the Interesting Combats section, page 17, for a short discus-
sion that deals with this same issue.
Modifying Difficulty
Orcs with crossbows, behind cover, firing down at the PCs while
the characters cross a narrow ledge over a pit full of spikes are
much more dangerous than the same orcs being engaged in hand-
to-hand combat in some tunnel. Likewise, if the PCs find them-
selves on a balcony, looking down at oblivious orcs who are carry-
ing barrels of flammable oil, the encounter is likely to be much
easier than if the orcs were aware of the PCs.
Consider the sorts of factors, related to location or situation,
that make an encounter more difficult, such as the following.
•Enemy has cover (for example, behind a low wall).
•Enemy is at higher elevation or is hard to get at (on a ledge or
atop a defensible wall).
•Enemy has guaranteed surprise (PCs are asleep).
Conditions make it difficult to see or hear (mist, darkness,
rumbling machinery all around).
Conditions make movement difficult (underwater, heavy grav-
ity, very narrow passage).
Conditions require delicate maneuvering (climbing down a
sheer cliff, hanging from the ceiling).
Conditions deal damage (in the icy cold, in a burning building,
over a pit of acid).
Conversely, the first three conditions given above make
encounters easier from the PCs’ point of view if they are the ones
benefiting from the cover, elevation, or surprise.
REWARDS AND BEHAVIOR
Encounters, either individually or strung together, reward certain
types of behavior whether you are conscious of it or not. Encoun-
ters that can or must be won by killing the opponents reward
aggression and fighting prowess. If you set up your encounters
like this, expect wizards and priests to soon go into every adven-
ture with only combat spells prepared. The PCs will learn to use
tactics to find the best way to kill the enemy quickly. By contrast,
encounters that can be won by diplomacy encourage the PCs to
talk to everyone and everything they meet. Encounters that
reward subterfuge and prowling encourage sneakiness. Encoun-
CHAPTER 3:
ADVENTURES
ters that reward boldness speed up the game, while those that
reward caution slow it down.
Always be aware of the sorts of actions youre rewarding your
players for taking. Reward, in this case, doesnt just mean expe-
rience points and treasure. More generally, it means anything
that consistently leads to success. An adventure should contain
encounters that reward different types of behavior. Not every-
one prefers the same kind of encounter, and even those with a
favorite enjoy a change of pace. Remember, then, that you can
offer many different kinds of encounters, including all of the
following.
Combat: Combat encounters can be divided into two groups:
attack and defense. Typically, the PCs are on the attack, invading
monsters’ lairs and exploring dungeons. A defense encounter, in
which the PCs must keep an area, an object, or a person safe from
the enemy, can be a nice change of pace.
Negotiation: Although threats can often be involved, a negoti-
ation encounter involves less swordplay and more wordplay. Con-
vincing NPCs to do what the PCs want them to is challenging for
both players and DM—quick thinking and good roleplaying are
the keys here. Dont be afraid to play an NPC appropriately (stupid
or intelligent, generous or selfish), as long as it fits. But don’t make
an NPC so predictable that the PCs can always tell exactly what he
or she will do in any given circumstance. Consistent, yes; one-
dimensional, no.
Environmental: Weather, earthquakes, landslides, fast-
moving rivers, and fires are just some of the environmental condi-
tions that can challenge even mid- to high-level PCs.
Problem-Solving: Mysteries, puzzles, riddles, or anything that
requires the players to use logic and reason to try to overcome the
challenge counts as a problem-solving encounter.
Judgment Calls: “Do we help the prisoner here in the dun-
geon, even though it might be a trap?” Rather than depending
on logic, these encounters usually involve inclination and gut
instinct.
Investigation: This is a long-term sort of encounter involving
some negotiation and some problem-solving. An investigation
may be called for to solve a mystery or to learn something new.
TREASURE
What adventure would be complete without treasure?
A close second in importance to experience points, treasure
provides an important motivator for PCs to go on adventures. As
with experience points, treasure empowers the PCs. The more
they get, the more powerful they become.
MONSTERS WITH TREASURE
The standard way to acquire treasure is to defeat enemies that pos-
sess it, guard it, or happen to be near it. In the Monster Manual, ev-
ery monster has a treasure rating (indicating how much treasure it
has, although for some creatures the rating is “None”). The tables
found in this section enable you to determine the specifics. After
referencing the level and kind of treasure (coins, goods, items)
found in the creature’s description, roll on the appropriate row and
columns of the proper table.
When generating an encounter dealing with monsters away
from their lair (a patrol, a wandering creature, and so on), remem-
ber that a creature only takes what it can easily carry with it. In the
case of a creature such as a displacer beast, that generally means
nothing. The monster safeguards or hides its treasure as well as it
can, but it leaves it behind when outside the lair.
E