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Returning 35 results for 'button bards distance certain resolve'.
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Spells
Player’s Handbook
surface, common triggers include touching or stepping on the glyph, removing another object covering it, or approaching within a certain distance of it. For glyphs inscribed within an object, common
triggers include opening that object or seeing the glyph.
You can refine the trigger so that only creatures of certain types activate it (for example, the glyph could be set to affect Aberrations). You can
Spells
Player’s Handbook
a surface, common triggers include touching or stepping on the glyph, removing another object covering it, or approaching within a certain distance of it. For glyphs inscribed within an object, common
triggers include opening that object or seeing the glyph. Once a glyph is triggered, this spell ends.
You can refine the trigger so that only creatures of certain types activate it (for example, the
Monsters
Quests from the Infinite Staircase
Specialization"}): 1, aerialist; 2, diplomat; 3, diver; 4, duelist; 5, medic; 6, sentry. This design determines certain traits in this stat block.
Lightning Overload. When the android takes lightning
android has one or more upgrades to help it excel at its intended functions, but all androids are capable of defending themselves with concentrated bolts of force up close or from a distance.
Despite
Equipment
This bone whistle is carved in the shape of a gargath. When blown, it produces a high-pitched sound that can only be heard clearly by certain creatures. When you blow this whistle, any beast within
100 feet of you that hears it can discern its distance from and direction to you. Friendly beasts can be trained to understand signals given with this whistle, and if you spend at least 24 hours
Glyph of Warding
Legacy
This doesn't reflect the latest rules and lore.
Learn More
Spells
Basic Rules (2014)
another object covering the glyph, approaching within a certain distance of the glyph, or manipulating the object on which the glyph is inscribed. For glyphs inscribed within an object, the most common
triggers include opening that object, approaching within a certain distance of the object, or seeing or reading the glyph. Once a glyph is triggered, this spell ends.
You can further refine the
Symbol
Legacy
This doesn't reflect the latest rules and lore.
Learn More
Spells
Basic Rules (2014)
stepping on the glyph, removing another object covering it, approaching within a certain distance of it, or manipulating the object that holds it. For glyphs inscribed within an object, the most
common triggers are opening the object, approaching within a certain distance of it, or seeing or reading the glyph.
You can further refine the trigger so the spell is activated only under certain
Monsters
Acquisitions Incorporated
damage if he fails. He can't use this trait if he's incapacitated.
Second-Story Work. Climbing does not cost Viari extra movement. Additionally, when he makes a running jump, the distance he covers
adventurer was nearly cut short during a battle of which the bards still sing. Unleashing a devastating attack with the aptly named Apocalypse Dagger, the rogue destroyed a giant single-handedly — and lost
Monsters
Mordenkainen Presents: Monsters of the Multiverse
, regardless of distance, so long as it and its master are in the same body of water.Deep scions began life as people who were stolen from shore or saved from sinking ships and offered a terrible bargain
certain, but when it works, the magic transforms an air-breathing person into a shapeshifter that can take on an aquatic form.
A deep scion emerges from the depths in service to their underwater master
magic-items
certain distance of the disk or when someone first makes contact with the disk, then breaks that contact.
Impact. The activated disk can be set to detonate on impact, then used by throwing or dropping it
the following triggers, or with a more complex trigger of the creator’s choosing (e.g. to detonate when a certain word is spoken, when a specific object comes within range, etc.):
Time. When the
classes
Basic Rules (2014)
versatility. Many bards prefer to stick to the sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. But bards are capable of defending themselves in melee if
of song, speech, and the magic they contain. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation
magic-items
certain distance of the disk or when someone first makes contact with the disk, then breaks that contact.
Impact. The activated disk can be set to detonate on impact, then used by throwing or dropping it
the following triggers, or with a more complex trigger of the creator’s choosing (e.g. to detonate when a certain word is spoken, when a specific object comes within range, etc.):
Time. When the
Monsters
Mordenkainen Presents: Monsters of the Multiverse
);{"diceNotation":"5d10", "rollType":"damage", "rollAction":"Psychic Orb", "rollDamageType":"psychic"} psychic damage.
Collapse Distance (Recharge 6);{"diceNotation":"1d6", "rollType":"recharge
", "rollAction":"Collapse Distance"}. The seer warps space around one creature it can see within 30 feet of it. That creature must make a DC 19 Wisdom saving throw. On a failed save, the target, along with
magic-items
certain distance of the disk or when someone first makes contact with the disk, then breaks that contact.
Impact. The activated disk can be set to detonate on impact, then used by throwing or dropping it
the following triggers, or with a more complex trigger of the creator’s choosing (e.g. to detonate when a certain word is spoken, when a specific object comes within range, etc.):
Time. When the
magic-items
certain distance of the disk or when someone first makes contact with the disk, then breaks that contact.
Impact. The activated disk can be set to detonate on impact, then used by throwing or dropping it
the following triggers, or with a more complex trigger of the creator’s choosing (e.g. to detonate when a certain word is spoken, when a specific object comes within range, etc.):
Time. When the
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->Basic Rules (2014)
sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. But bards are capable of defending themselves in melee if necessary, using their magic to bolster their
. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation still resound throughout the cosmos. The music of
Compendium
- Sources->Dungeons & Dragons->Player's Handbook (2014)
sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. But bards are capable of defending themselves in melee if necessary, using their magic to bolster their
. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation still resound throughout the cosmos. The music of
Compendium
- Sources->Dungeons & Dragons->Basic Rules (2014)
sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. But bards are capable of defending themselves in melee if necessary, using their magic to bolster their
. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation still resound throughout the cosmos. The music of
Compendium
- Sources->Dungeons & Dragons->Player's Handbook (2014)
sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. But bards are capable of defending themselves in melee if necessary, using their magic to bolster their
. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation still resound throughout the cosmos. The music of
Compendium
- Sources->Dungeons & Dragons->Player's Handbook (2014)
sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. But bards are capable of defending themselves in melee if necessary, using their magic to bolster their
. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation still resound throughout the cosmos. The music of
Compendium
- Sources->Dungeons & Dragons->Basic Rules (2014)
sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. But bards are capable of defending themselves in melee if necessary, using their magic to bolster their
. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation still resound throughout the cosmos. The music of
Monsters
Mordenkainen Presents: Monsters of the Multiverse
ocean to the void of the Astral Plane. Anything on or within a certain distance of a morkoth’s isle is drawn with it in its journey through the planes. Thus, people from lost civilizations and
Monsters
Eberron: Rising from the Last War
perception. Each creature of Belashyrra’s choice in the lair must make a DC 22 Wisdom saving throw. On a failure, the affected creature perceives objects and creatures a short distance from their
“I perceive certain types of people — vocations or entire societies — as hideous monsters.”
3
“Someone is watching everything I do.”
4
“When I
Monsters
Fizban's Treasury of Dragons
bards and philosophers to partake in “the Great Dialogue” in the dragon’s mountaintop lair. But only the dragon knows that the Great Dialogue has no end, and no one can leave the lair
are the most common materials they use in the construction of a lair, crystal and other precious minerals feature prominently in certain areas. In this way, crystal dragons’ hoards literally
Monsters
Fizban's Treasury of Dragons
the greatest bards and philosophers to partake in “the Great Dialogue” in the dragon’s mountaintop lair. But only the dragon knows that the Great Dialogue has no end, and no one can
certain areas. In this way, crystal dragons’ hoards literally become the fabric of their homes.
Crystal Dragon Lair Features
The crystal dragon lair shown in map 5.7 is the home of a dragon who
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->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->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->Sword Coast Adventurer’s Guide
the bards, each of which is named after one of the colleges. See chapter 7 of the Dungeon Master’s Guide for the game statistics of these magic instruments. Long ago, bards who sought the rank of
tradition fell when the colleges went into decline, but some bards dream of restoring it. College of Fochlucan The original College of Fochlucan once stood on the northeastern edge of Silverymoon. Many years