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Returning 35 results for 'before building decide complex resolve'.
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Monsters
Mordenkainen Presents: Monsters of the Multiverse
brutes, employers must use caution when instructing them. They can handle simple orders that don’t take a lot of time to resolve. When given anything complex to do, however, they either forget what
Classes
Tasha’s Cauldron of Everything
. Other Swarmkeepers enjoy building vibrant communities that work for the mutual benefit of all those they consider part of their swarm.
A Swarmkeeper’s swarm and spells are reflections of the
chapter 3 of Tasha's Cauldron of Everything.
Also, remember that the swarm’s appearance is yours to customize, and don’t feel confined to a single appearance. Perhaps the spirits’ look changes with the ranger’s mood or with the seasons. You decide!
Classes
Tasha’s Cauldron of Everything
. Other Swarmkeepers enjoy building vibrant communities that work for the mutual benefit of all those they consider part of their swarm.
A Swarmkeeper’s swarm and spells are reflections of the
chapter 3 of Tasha's Cauldron of Everything.
Also, remember that the swarm’s appearance is yours to customize, and don’t feel confined to a single appearance. Perhaps the spirits’ look changes with the ranger’s mood or with the seasons. You decide!
Backgrounds
Guildmasters’ Guide to Ravnica
the moss-covered building where I took part in my first reclamation mission.
5
I found something in the sewer that must never come to light.
6
I am forever grateful to the reclaimer who
.
4
Roll an additional Golgari contact; you can decide if the contact is an ally or a rival.
5
I joined the Gruul in a battle against the Boros once, and the chief of that small clan thanks
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Attack Rolls In combat, an attack roll is used to determine whether an attack hits. You can also use attack rolls to resolve noncombat activities that are similar to attacks in combat, such as an
archery contest or a game of darts. Assign an Armor Class to the target, decide whether the character is proficient with the weapon used, then have the player make an attack roll. (See also “Degrees of Success” in this chapter.)
Backgrounds
Guildmasters’ Guide to Ravnica
basic knowledge of the structure of buildings, including the stuff behind the walls. You can also find blueprints of a specific building in order to learn the details of its construction. Such
me with conflicted feelings.
5
I helped a minor Gruul chieftain acquire an Izzet weapon.
6
Roll an additional Izzet contact; you can decide if the contact is an ally or a rival.
7
Compendium
- Sources->Dungeons & Dragons->Keys from the Golden Vault
with mulberry trees. The guildhouse is a wooden complex consisting of a main building with an adjoining tower and basement, as well as a livery area that includes stables, an office, and quarters for paying visitors.
Backgrounds
Guildmasters’ Guide to Ravnica
1
I helped create a krasis that I love like a pet and would carry with me everywhere … except it’s the size of a building, and it might eat me.
2
In my laboratory, I
make a nice sideshow act.
9
I left the Selesnya — and a lover — behind when I joined the Simic.
10
Roll an additional Simic contact; you can decide if the contact is an ally or a rival.
Compendium
- Sources->Dungeons & Dragons->Vecna: Eve of Ruin
archaeologists. The archaeologists are in dire straits, and it’s up to the characters to decide whether to help. Eventually, the characters realize that the sixth piece of the Rod of Seven Parts is located
in the complex the archaeologists were exploring: the Tomb of Wayward Souls. The archaeologists haven’t explored far into the deadly complex, so the characters must face its challenges without much
Compendium
- Sources->Dungeons & Dragons->Fizban's Treasury of Dragons
divided into five main sections: “Roleplaying Dragons” presents tips and tricks for building a dragon character as complex and distinctive as any other villain, ally, or mysterious figure in your
Dragons in Play This chapter is intended for the Dungeon Master. The ideas and tables herein can help inspire you as you prepare to use dragons in your D&D game, whether you’re building a single
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
moving a lever, and the DM describes what, if anything, happens. For example, a character might decide to pull a lever, which might, in turn, raise a portcullis, cause a room to flood with water, or
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
moving a lever, and the DM describes what, if anything, happens. For example, a character might decide to pull a lever, which might, in turn, raise a portcullis, cause a room to flood with water, or
Compendium
- Sources->Dungeons & Dragons->The Book of Many Things
road, or a situation the characters are asked to resolve. You decide the scope of the decision the characters must make. You can ask them to make a simple choice (“Do you want to take the path along
ability checks (though another character can help, at your discretion). Whatever choice or challenge you decide the top card represents, the characters’ success or failure while dealing with that situation determines how you read the bottom card.
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
Start Small When you first start building your campaign, start small. The characters need to know only about the city, town, or village where they start the game, and perhaps the nearby dungeon. You
might decide that the barony is at war with a nearby duchy, or that a distant forest is crawling with ettercaps and giant spiders, and you should note these things. But at the start of the game, the local area is enough to get the campaign off the ground. Follow these steps to create that local area:
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
characters don’t need to take turns, but you need to give each player a chance to tell you what their character is doing so you can decide how to resolve everyone’s actions. In combat, everyone takes
the DM, you decide how much to tell the players and when. All the information the players need to make choices comes from you. Within the rules of the game and the limits of the characters’ knowledge
Compendium
- Sources->Dungeons & Dragons->D&D Beyond Basic Rules
bookshelf. Outside combat, the characters don’t need to take turns, but you need to give each player a chance to tell you what their character is doing so you can decide how to resolve everyone’s
sections offer more detailed information on how an encounter typically unfolds, in three steps. Step 1: Describe the Situation As the DM, you decide how much to tell the players and when. All the
Compendium
- Sources->Dungeons & Dragons->Wayfinder's Guide to Eberron
What Caused the Mourning? There will never be an official answer to the cause of the Mourning. As a DM in Eberron, we want you to decide the cause of this tragedy… or if you prefer, to leave it as a
mystery that will never be solved. With that said, people in Eberron itself have many theories about the cause of the Mourning; it’s up to you to decide if any of them are correct. The Mourning was
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
agreement with a clan of surly dwarves, or successfully navigate the Chasm of Doom, you might decide that they deserve an XP reward.
As a starting point, use the rules for building combat encounters in
Noncombat Challenges You decide whether to award experience to characters for overcoming challenges outside combat. If the adventurers complete a tense negotiation with a baron, forge a trade
Compendium
- Sources->Dungeons & Dragons->Eberron: Rising from the Last War
a heavily armored warforged stands guard Building on the book’s introduction, this chapter reveals how you can create a character shaped by Eberron and its war-filled history. The chapter offers you
. Dragonmark. Decide whether your character bears one of the mystical marks associated with the dragonmarked houses. Background. Choose the house agent background if your character has devoted themself to
Compendium
- Sources->Dungeons & Dragons->Dragon of Icespire Peak
, congratulate them on building their characters and begin the adventure with the next session. During character creation, your role as the DM is to let your players build the characters they want, and to help
let the player decide if they want the character to have a sidekick (see “Running for One Player” below).
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
Immersive Storytelling Waterdeep is threatened by political turmoil. The adventurers must convince the Masked Lords, the city’s secret rulers, to resolve their differences, but can do so only after
both the characters and the lords have come to terms with their differing outlooks and agendas. This style of gaming is deep, complex, and challenging. The focus isn’t on combat but on negotiations
Compendium
- Sources->Dungeons & Dragons->Rise of Tiamat
decide that assassins provided by the Zhentarim should counter the sacrificial prisoners by infiltrating the cult complex and escorting those prisoners to freedom. In that case, you might remind the
Assigning Assets When you’ve noted which assets are fighting against the cult, it’s time to decide how those forces of good attack. The characters are key figures in the allied force marching on the
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
importance. Building an event-based adventure is more work than building a location-based one, but the process can be simplified by following a number of straightforward steps. Several steps include tables
steps the villain takes to achieve its goals. Create a timeline showing what the villain does and when, assuming no interference from the adventurers.
Building on the previous example, you might
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
NPCs made the challenge easier. (See also “Nonplayer Characters” in chapter 3.) Noncombat Challenges You decide whether to award XP to characters for overcoming challenges outside combat. If the
adventurers complete a tense negotiation with a baron, forge a trade agreement with a guild of surly smiths, or safely navigate the Chasm of Doom, you might decide the characters deserve XP. As a starting
Compendium
- Sources->Dungeons & Dragons->Player’s Handbook
Interacting with Objects Interacting with objects is often simple to resolve. The player tells the DM that their character is doing something, such as moving a lever or opening a door, and the DM
, inanimate item like a window, door, sword, book, table, chair, or stone. It isn’t a building or a vehicle, which are composed of many objects. Time-Limited Object Interactions When time is short, such
Compendium
- Sources->Dungeons & Dragons->D&D Beyond Basic Rules
Interacting with Objects Interacting with objects is often simple to resolve. The player tells the DM that their character is doing something, such as moving a lever or opening a door, and the DM
, inanimate item like a window, door, sword, book, table, chair, or stone. It isn’t a building or a vehicle, which are composed of many objects. Time-Limited Object Interactions When time is short, such
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
adventure locations, such as a haunted house on the outskirts of town or a dungeon complex tucked in the nearby hills. Alexandre Honoré A time of sorrow can bring people together and even launch an
Free City of Greyhawk, described later in this chapter, is an ideal starting location and illustrates the kinds of things to consider as you detail a starting location. If you’re building your own
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
Monsters
Fizban's Treasury of Dragons
from the sea, but the dragon is too proud to ask for help getting home.
6
A topaz dragon is building a tableau of desiccated creatures and has grown obsessed with catching one treasure hunter
Features
The topaz dragon lair shown in map 5.14 is situated among the rocky cliffs and beaches of a rugged coastline. The lair is set in a cavern complex near the top of the cliffs, 50 feet above the sandy
Compendium
- Sources->Dungeons & Dragons->Eberron: Rising from the Last War
take a while for adventurers to realize that an apparently unconnected series of encounters early in a campaign are actually all part of the complex schemes of the Lords of Dust. These fiends are so
devious that it is often impossible to discern a pattern to their actions until their plans have come to fruition and the connections have finally been made clear. (You could retroactively decide that what you intended as unconnected encounters were all part of the plan from the beginning!)
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
kind gesture at a future date, or challenging the characters to a friendly drinking contest. Ability Checks in Social Interaction You decide the extent to which ability checks shape the outcome of a
social interaction. A simple social interaction might involve a brief conversation and a single Charisma check, while a more complex encounter might involve multiple ability checks helping to steer the
Monsters
Fizban's Treasury of Dragons
injured and stranded far from the sea, but the dragon is too proud to ask for help getting home.
6
A topaz dragon is building a tableau of desiccated creatures and has grown obsessed with catching
.
Topaz Dragon Lair Features
The topaz dragon lair shown in map 5.14 is situated among the rocky cliffs and beaches of a rugged coastline. The lair is set in a cavern complex near the top of the
Compendium
- Sources->Dungeons & Dragons->Storm Lord’s Wrath
finished stone building in the town. These children, some of them terrified and missing their parents, others mischievous and too young to understand consequences (much like adventurers), decide to run
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
of the location you have in mind. Map Inspiration. The internet is a great place to find adventure maps that have been made available, as well as real-world building floor plans and city maps and other
adventure location are more than a collection of random creatures that happen to live near one another. Fungi, natural animals, scavengers, and predators can coexist in a complex ecology, alongside
Compendium
- Sources->Dungeons & Dragons->Ghosts of Saltmarsh
to have two floors. A bell tower rises an additional two stories above the rest of the building, and a low stone wall surrounds part of the complex.
If the characters approach the pier that serves the hermitage, see area 1 for more information.
above narrow, rocky beaches and small wiry shrubs on an otherwise sparse landscape. In between those high points, a small fortress and beacon tower can be seen. The building is made of stone and looks