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Returning 35 results for 'balor before defeat certain resolve'.
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Monsters
Infernal Machine Rebuild
remains unknown.
Cruel Puppet Masters. An eye of fear and flame often chooses to appear during times of uncertainty, such as after a group's devastating defeat or when an individual contemplates some
, though they are treated as dangerous, cursed trophies akin to a demilich's soul gems. Still, they might be sold to certain discerning—and brazen—collectors.PoisonNecrotic, Psychic
Monsters
Mordenkainen Presents: Monsters of the Multiverse
to inspire and strengthen the side of good or to rescue heroes from certain death.
Ki-rins are attracted to the worship of deities of courage, loyalty, selflessness, and truth, as well as to the
working behind the scenes, or they might be champions of their master’s cause, out to defeat villainy wherever it is found.
When viewed from the outside, a ki-rin’s lair is indistinguishable
races
Mordenkainen Presents: Monsters of the Multiverse
a scale color more akin to that of a chromatic or a metallic dragon. A kobold’s cry can express a range of emotion: anger, resolve, elation, fear, and more. Regardless of the emotion expressed
of certain types in different ways. For example, the cure wounds spell doesn’t work on a Construct or an Undead.
Life Span
The typical life span of a player character in the D&D multiverse
Compendium
- Sources->Dungeons & Dragons->Infernal Machine Rebuild
Background According to legend, Acererak was a tiefling fathered by a balor named Tarnhem. In his youth, he studied spellcasting under Vecna, and has since become an archmage of surpassing evil
. While researching the means to achieve lichdom, Acererak built a number of dungeons and tombs, including his famed Tomb of Horrors. Those dungeons were created partly as a means to draw out and defeat
Compendium
- Sources->Dungeons & Dragons->Infernal Machine Rebuild
Background According to legend, Acererak was a tiefling fathered by a balor named Tarnhem. In his youth, he studied spellcasting under Vecna, and has since become an archmage of surpassing evil
. While researching the means to achieve lichdom, Acererak built a number of dungeons and tombs, including his famed Tomb of Horrors. Those dungeons were created partly as a means to draw out and defeat
Compendium
- Sources->Dungeons & Dragons->Infernal Machine Rebuild
Background According to legend, Acererak was a tiefling fathered by a balor named Tarnhem. In his youth, he studied spellcasting under Vecna, and has since become an archmage of surpassing evil
. While researching the means to achieve lichdom, Acererak built a number of dungeons and tombs, including his famed Tomb of Horrors. Those dungeons were created partly as a means to draw out and defeat
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Time in the Campaign Most conflicts in a D&D campaign take weeks or months of in-world time to resolve. A typical campaign concludes within a year of in-world time unless you allow the characters to
certain times of year make for great adventure opportunities. Perhaps a ghostly castle appears on a certain hill on the winter solstice every year, or every thirteenth full moon is blood red and fills
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Time in the Campaign Most conflicts in a D&D campaign take weeks or months of in-world time to resolve. A typical campaign concludes within a year of in-world time unless you allow the characters to
certain times of year make for great adventure opportunities. Perhaps a ghostly castle appears on a certain hill on the winter solstice every year, or every thirteenth full moon is blood red and fills
Compendium
- Sources->Dungeons & Dragons->Player's Handbook (2014)
Interacting with Objects A character's interaction with objects in an environment is often simple to resolve in the game. The player tells the DM that his or her character is doing something, such as
certain objects have resistance or immunity to certain kinds of attacks. (It's hard to cut a rope with a club, for example.) Objects always fail Strength and Dexterity saving throws, and they are
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Time in the Campaign Most conflicts in a D&D campaign take weeks or months of in-world time to resolve. A typical campaign concludes within a year of in-world time unless you allow the characters to
certain times of year make for great adventure opportunities. Perhaps a ghostly castle appears on a certain hill on the winter solstice every year, or every thirteenth full moon is blood red and fills
Compendium
- Sources->Dungeons & Dragons->Basic Rules (2014)
Interacting with Objects A character's interaction with objects in an environment is often simple to resolve in the game. The player tells the DM that his or her character is doing something, such as
certain objects have resistance or immunity to certain kinds of attacks. (It's hard to cut a rope with a club, for example.) Objects always fail Strength and Dexterity saving throws, and they are
Compendium
- Sources->Dungeons & Dragons->Basic Rules (2014)
Interacting with Objects A character's interaction with objects in an environment is often simple to resolve in the game. The player tells the DM that his or her character is doing something, such as
certain objects have resistance or immunity to certain kinds of attacks. (It's hard to cut a rope with a club, for example.) Objects always fail Strength and Dexterity saving throws, and they are
Compendium
- Sources->Dungeons & Dragons->Basic Rules (2014)
Interacting with Objects A character's interaction with objects in an environment is often simple to resolve in the game. The player tells the DM that his or her character is doing something, such as
certain objects have resistance or immunity to certain kinds of attacks. (It's hard to cut a rope with a club, for example.) Objects always fail Strength and Dexterity saving throws, and they are
Compendium
- Sources->Dungeons & Dragons->Player's Handbook (2014)
Interacting with Objects A character's interaction with objects in an environment is often simple to resolve in the game. The player tells the DM that his or her character is doing something, such as
certain objects have resistance or immunity to certain kinds of attacks. (It's hard to cut a rope with a club, for example.) Objects always fail Strength and Dexterity saving throws, and they are
Compendium
- Sources->Dungeons & Dragons->Player's Handbook (2014)
Interacting with Objects A character's interaction with objects in an environment is often simple to resolve in the game. The player tells the DM that his or her character is doing something, such as
certain objects have resistance or immunity to certain kinds of attacks. (It's hard to cut a rope with a club, for example.) Objects always fail Strength and Dexterity saving throws, and they are
Compendium
- Sources->Dungeons & Dragons->Dragon Delves
Conclusion If the characters defeat Anthradusk and return to Eldemere, she commends them for their bravery—thanking them on both her own behalf and Cozmioko’s. She’s certain the brass dragon is now
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
reflects the structure of dramatic stories. At the beginning of a story, something happens to shake the protagonists’ world and spur them into action. The characters take action to resolve their
adventure hooks and affect the characters’ lives directly. In the middle, they make great turning points as the characters’ fortunes reverse — rising after a defeat or falling after a victory. Near the end
Compendium
- Sources->Dungeons & Dragons->Dragon Delves
Conclusion If the characters defeat Anthradusk and return to Eldemere, she commends them for their bravery—thanking them on both her own behalf and Cozmioko’s. She’s certain the brass dragon is now
Compendium
- Sources->Dungeons & Dragons->Dragon Delves
Conclusion If the characters defeat Anthradusk and return to Eldemere, she commends them for their bravery—thanking them on both her own behalf and Cozmioko’s. She’s certain the brass dragon is now
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
reflects the structure of dramatic stories. At the beginning of a story, something happens to shake the protagonists’ world and spur them into action. The characters take action to resolve their
adventure hooks and affect the characters’ lives directly. In the middle, they make great turning points as the characters’ fortunes reverse — rising after a defeat or falling after a victory. Near the end
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
reflects the structure of dramatic stories. At the beginning of a story, something happens to shake the protagonists’ world and spur them into action. The characters take action to resolve their
adventure hooks and affect the characters’ lives directly. In the middle, they make great turning points as the characters’ fortunes reverse — rising after a defeat or falling after a victory. Near the end
Compendium
- Sources->Dungeons & Dragons->Eberron: Rising from the Last War
hobgoblin general, whose descendants want it back. The ways to resolve these problems aren’t always simple. Certain situations demand straightforward decisions. If Emerald Claw cultists are about to
Compendium
- Sources->Dungeons & Dragons->Eberron: Rising from the Last War
hobgoblin general, whose descendants want it back. The ways to resolve these problems aren’t always simple. Certain situations demand straightforward decisions. If Emerald Claw cultists are about to
Compendium
- Sources->Dungeons & Dragons->Eberron: Rising from the Last War
hobgoblin general, whose descendants want it back. The ways to resolve these problems aren’t always simple. Certain situations demand straightforward decisions. If Emerald Claw cultists are about to
Compendium
- Sources->Dungeons & Dragons->Waterdeep: Dungeon of the Mad Mage
wall. (Halaster artfully placed the skeleton here to help adventurers find the secret door to area 3.)
The carvings on the north wall of area 2a depict (from east to west) a balor, a barlgura, a chasme
loudly as it hits the floor.
Warning. The words “Certain death this way!” are carved in Common on the southeast wall, with an arrow pointing toward the southern exit.
The bugbears detect the approach
Compendium
- Sources->Dungeons & Dragons->Waterdeep: Dungeon of the Mad Mage
wall. (Halaster artfully placed the skeleton here to help adventurers find the secret door to area 3.)
The carvings on the north wall of area 2a depict (from east to west) a balor, a barlgura, a chasme
loudly as it hits the floor.
Warning. The words “Certain death this way!” are carved in Common on the southeast wall, with an arrow pointing toward the southern exit.
The bugbears detect the approach
Compendium
- Sources->Dungeons & Dragons->Waterdeep: Dungeon of the Mad Mage
wall. (Halaster artfully placed the skeleton here to help adventurers find the secret door to area 3.)
The carvings on the north wall of area 2a depict (from east to west) a balor, a barlgura, a chasme
loudly as it hits the floor.
Warning. The words “Certain death this way!” are carved in Common on the southeast wall, with an arrow pointing toward the southern exit.
The bugbears detect the approach
Compendium
- Sources->Dungeons & Dragons->D&D Beyond Basic Rules
Warlock Subclass A Warlock subclass is a specialization that grants you features at certain Warlock levels, as specified in the subclass. This section presents the Fiend Patron subclass. Fiend Patron
; or a pit fiend, balor, yugoloth, or night hag that is especially mighty. That patron’s aims are evil—the corruption or destruction of all things, ultimately including you—and your path is defined by
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
in action.) In such situations, have the characters take turns, though it’s usually not necessary to roll Initiative as you would in a combat encounter. Resolve one character’s actions before moving
something during exploration, you decide whether that action requires an ability check to determine success (as described in the earlier “Resolving Outcomes” section). Certain situations might call
compendium
- Sources->Dungeons & Dragons->Faster, Purple Worm! Everybody Dies, Vol. 1
the living.”
The characters are now trapped in the clearing with a death knight. Most of the ghosts who’ve watched the scene until now scatter. Timmy stubbornly cheers them on as they face certain
him with determination. If the party shows resolve and stands to fight, have Sir Annus go last in the initiative order. He will give each brave adversary a fair shot before ending them all. If the
Compendium
- Sources->Dungeons & Dragons->D&D Beyond Basic Rules
Warlock Subclass A Warlock subclass is a specialization that grants you features at certain Warlock levels, as specified in the subclass. This section presents the Fiend Patron subclass. Fiend Patron
; or a pit fiend, balor, yugoloth, or night hag that is especially mighty. That patron’s aims are evil—the corruption or destruction of all things, ultimately including you—and your path is defined by
Compendium
- Sources->Dungeons & Dragons->D&D Beyond Basic Rules
Warlock Subclass A Warlock subclass is a specialization that grants you features at certain Warlock levels, as specified in the subclass. This section presents the Fiend Patron subclass. Fiend Patron
; or a pit fiend, balor, yugoloth, or night hag that is especially mighty. That patron’s aims are evil—the corruption or destruction of all things, ultimately including you—and your path is defined by
Compendium
- Sources->Dungeons & Dragons->Storm King's Thunder
such a war would spell certain doom for the human, dwarven, and elven civilizations of the North — something the Xorlarrin drow desire above all else. By the time the characters begin their journey to
, the characters might encounter them in the fire giant fortress. Unless the characters defeat Duke Zalto or otherwise prevent the iron flask from falling into his possession, he traps Maegera in the
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
send dreams, omens, or emissaries to direct mortals along a certain path. Keep these two principles in mind to guide your use of divine intervention in your campaign: Don’t Eliminate Character Choice
god should never guarantee success or victory, nor should a god’s interference portend immediate defeat. Gods can act to change the balance of an encounter or offer an avenue of escape, but they count
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
send dreams, omens, or emissaries to direct mortals along a certain path. Keep these two principles in mind to guide your use of divine intervention in your campaign: Don’t Eliminate Character Choice
god should never guarantee success or victory, nor should a god’s interference portend immediate defeat. Gods can act to change the balance of an encounter or offer an avenue of escape, but they count