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Returning 35 results for 'conflicts way respectively'.
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conflicted way respectively
Species
Player’s Handbook
strongholds into mountainsides and under the earth. Their oldest legends tell of conflicts with the monsters of mountaintops and the Underdark, whether those monsters were towering giants or
of dwarves were built in hills or mountains, and the families who trace their ancestry to those settlements call themselves hill dwarves or mountain dwarves, respectively. The Greyhawk and Dragonlance
Monsters
Mythic Odysseys of Theros
on a DC 13 Wisdom saving throw or be charmed. While charmed in this way, the target idolizes the satyr and will take part in the satyr's revels. The charmed condition ends for the creature after 1
torment stuffy individuals or pull pranks on the unwary, pastimes that can predictably lead to scuffles. If a satyr can't talk their way out of a conflict—or diffuse it with a good-natured distraction
Monsters
Mythic Odysseys of Theros
neither naive nor defenseless. Some satyrs delightedly torment stuffy individuals or pull pranks on the unwary, pastimes that can predictably lead to scuffles. If a satyr can't talk their way out of a
tactics and methods of ending conflicts as swiftly as possible. This often means turning the same skills that make them famed celebrants toward battle, be it captivating performances or the aim developed
Spells
Acquisitions Incorporated
that can see and hear you, and that can understand you. The creature must succeed on a Wisdom saving throw or become charmed by you for the duration. While the creature is charmed in this way, it
its current task. If the service or activity might cause harm to the creature, or if it conflicts with the creature’s normal activities and desires, the creature can make another Wisdom saving
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Campaign Conflicts One way to ensure your campaign’s longevity is to come up with three compelling conflicts you can create adventures around. Introduce these conflicts early in the campaign. As the
replace conflicts that don’t resonate with your players as well as conflicts you’re having trouble building adventures around. Conflict Arcs In the same way you think about character arcs over the
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Campaign Conflicts One way to ensure your campaign’s longevity is to come up with three compelling conflicts you can create adventures around. Introduce these conflicts early in the campaign. As the
replace conflicts that don’t resonate with your players as well as conflicts you’re having trouble building adventures around. Conflict Arcs In the same way you think about character arcs over the
Compendium
- Sources->Dungeons & Dragons->Dragonlance: Shadow of the Dragon Queen
Robes, the Red Robes, and the Black Robes, respectively. As it unfolds, give the character the opportunity to choose any order they please. If the character makes a surprising choice, consider asking the
player how they reconcile their choice with their character’s values. If the character feels strongly about a choice that conflicts with their values or alignment, their player might use this as a
Compendium
- Sources->Dungeons & Dragons->Dragonlance: Shadow of the Dragon Queen
Robes, the Red Robes, and the Black Robes, respectively. As it unfolds, give the character the opportunity to choose any order they please. If the character makes a surprising choice, consider asking the
player how they reconcile their choice with their character’s values. If the character feels strongly about a choice that conflicts with their values or alignment, their player might use this as a
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Step-by-Step Campaigns Follow these steps to create a campaign: Step 1: Lay Out the Premise. Consider the core conflicts driving the campaign, and choose a setting that reinforces the themes and tone
you hope to evoke. Step 2: Draw In the Players. Start your campaign in a memorable way. Determine how the characters get drawn into events and how the characters’ goals and ambitions might come into
Kobold
Legacy
This doesn't reflect the latest rules and lore.
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Species
Volo's Guide to Monsters
hidden that the surface-dwelling citizens in the area often don’t know what lies beneath them.
Because the kobolds make sure they stay out of the way of anyone more dangerous than themselves, grow
abandon this careful approach. First, because of their hatred of gnomes, city kobolds often go out of their way to target gnomes’ houses and shops. Even in such cases, the kobolds’ fear of
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Step-by-Step Campaigns Follow these steps to create a campaign: Step 1: Lay Out the Premise. Consider the core conflicts driving the campaign, and choose a setting that reinforces the themes and tone
you hope to evoke. Step 2: Draw In the Players. Start your campaign in a memorable way. Determine how the characters get drawn into events and how the characters’ goals and ambitions might come into
Compendium
- Sources->Dungeons & Dragons->D&D Beyond Basic Rules
strongholds into mountainsides and under the earth. Their oldest legends tell of conflicts with the monsters of mountaintops and the Underdark, whether those monsters were towering giants or subterranean
were built in hills or mountains, and the families who trace their ancestry to those settlements call themselves hill dwarves or mountain dwarves, respectively. The Greyhawk and Dragonlance settings have
Compendium
- Sources->Dungeons & Dragons->D&D Beyond Basic Rules
strongholds into mountainsides and under the earth. Their oldest legends tell of conflicts with the monsters of mountaintops and the Underdark, whether those monsters were towering giants or subterranean
were built in hills or mountains, and the families who trace their ancestry to those settlements call themselves hill dwarves or mountain dwarves, respectively. The Greyhawk and Dragonlance settings have
Compendium
- Sources->Dungeons & Dragons->Player’s Handbook
and strongholds into mountainsides and under the earth. Their oldest legends tell of conflicts with the monsters of mountaintops and the Underdark, whether those monsters were towering giants or
dwarves were built in hills or mountains, and the families who trace their ancestry to those settlements call themselves hill dwarves or mountain dwarves, respectively. The Greyhawk and Dragonlance
Compendium
- Sources->Dungeons & Dragons->Player’s Handbook
and strongholds into mountainsides and under the earth. Their oldest legends tell of conflicts with the monsters of mountaintops and the Underdark, whether those monsters were towering giants or
dwarves were built in hills or mountains, and the families who trace their ancestry to those settlements call themselves hill dwarves or mountain dwarves, respectively. The Greyhawk and Dragonlance
Compendium
- Sources->Dungeons & Dragons->Phandelver and Below: The Shattered Obelisk
Nondeadly Resolutions This adventure is full of encounters in which the characters may wish to fight their foes. However, noncombat or another nondeadly resolution is an equally valid way to resolve
many enemy encounters. The characters might knock out enemies, intimidate them into running away, bribe them for information, or otherwise find creative ways to resolve conflicts. Use your discretion
Compendium
- Sources->Dungeons & Dragons->Phandelver and Below: The Shattered Obelisk
Nondeadly Resolutions This adventure is full of encounters in which the characters may wish to fight their foes. However, noncombat or another nondeadly resolution is an equally valid way to resolve
many enemy encounters. The characters might knock out enemies, intimidate them into running away, bribe them for information, or otherwise find creative ways to resolve conflicts. Use your discretion
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
rulebooks. Heroic Fantasy Conflicts. Heroic fantasy campaigns often revolve around delving into ancient dungeons in search of treasure or to destroy monsters or villains. Consider conflicts like these
decadent cities, where the protagonists are often motivated more by greed and self-interest than by altruistic virtue. Sword-and-Sorcery Conflicts. In this flavor of campaign, magic-users often
Compendium
- Sources->Dungeons & Dragons->Out of the Abyss
Leaving Mantol-Derith If Ghazrim DuLoc dies, characters can remove the ring from his dead hand and use it to find their way to Gravenhollow. If the characters deduce that Kinyel’s gem is responsible
, Gracklstugh, and Menzoberranzan, respectively (see chapter 10, “Descent into the Depths”). BEHOLDER EYESTALKS
If Lorthuun is killed, 1d4 of its eyestalks survive intact. Should Peebles the svirfneblin
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
rulebooks. Heroic Fantasy Conflicts. Heroic fantasy campaigns often revolve around delving into ancient dungeons in search of treasure or to destroy monsters or villains. Consider conflicts like these
decadent cities, where the protagonists are often motivated more by greed and self-interest than by altruistic virtue. Sword-and-Sorcery Conflicts. In this flavor of campaign, magic-users often
Compendium
- Sources->Dungeons & Dragons->Out of the Abyss
Leaving Mantol-Derith If Ghazrim DuLoc dies, characters can remove the ring from his dead hand and use it to find their way to Gravenhollow. If the characters deduce that Kinyel’s gem is responsible
, Gracklstugh, and Menzoberranzan, respectively (see chapter 10, “Descent into the Depths”). BEHOLDER EYESTALKS
If Lorthuun is killed, 1d4 of its eyestalks survive intact. Should Peebles the svirfneblin
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Ending a Campaign A campaign’s ending should conclude the last of the major conflicts and tie up most of the threads of its beginning and middle. (It’s OK to leave some loose ends for characters to
explore in the next campaign.) You don’t have to take a campaign all the way to level 20 for it to be satisfying; wrap up the campaign whenever the story reaches its natural conclusion. Allow time near
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Ending a Campaign A campaign’s ending should conclude the last of the major conflicts and tie up most of the threads of its beginning and middle. (It’s OK to leave some loose ends for characters to
explore in the next campaign.) You don’t have to take a campaign all the way to level 20 for it to be satisfying; wrap up the campaign whenever the story reaches its natural conclusion. Allow time near
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
, traps, puzzles, and conflicts. When you design an adventure, you call the shots. You do things exactly the way you want to. Fundamentally, adventures are stories. An adventure shares many of the
Chapter 3: Creating Adventures Creating adventures is one of the greatest rewards of being a Dungeon Master. It’s a way to express yourself, designing fantastic locations and encounters with monsters
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Character Alignment Some common misconceptions about alignment can cause conflicts between players and DMs. The following sections can help you navigate how player characters interact with alignment
evil-aligned adventurers coexist in the same party, they’re likely to have disagreements as the campaign unfolds. Many players enjoy roleplaying such conflicts, but see “Ensuring Fun for All” in
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Character Alignment Some common misconceptions about alignment can cause conflicts between players and DMs. The following sections can help you navigate how player characters interact with alignment
evil-aligned adventurers coexist in the same party, they’re likely to have disagreements as the campaign unfolds. Many players enjoy roleplaying such conflicts, but see “Ensuring Fun for All” in
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
, traps, puzzles, and conflicts. When you design an adventure, you call the shots. You do things exactly the way you want to. Fundamentally, adventures are stories. An adventure shares many of the
Chapter 3: Creating Adventures Creating adventures is one of the greatest rewards of being a Dungeon Master. It’s a way to express yourself, designing fantastic locations and encounters with monsters
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
” in chapter 3 for suggestions). Scott Murphy Conflicts between characters aren’t always bad, but they can get in the way of the game Communicating Limits. Make sure everyone is comfortable with how
adventures you’re thinking about running to your prospective players. Note the in-world conflicts that might arise, the setting’s overall tone, and the themes you’d like to explore. (The “Every DM Is Unique
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
” in chapter 3 for suggestions). Scott Murphy Conflicts between characters aren’t always bad, but they can get in the way of the game Communicating Limits. Make sure everyone is comfortable with how
adventures you’re thinking about running to your prospective players. Note the in-world conflicts that might arise, the setting’s overall tone, and the themes you’d like to explore. (The “Every DM Is Unique
Compendium
- Sources->Dungeons & Dragons->Fizban's Treasury of Dragons
Dragon Factions Draconic factions and the conflicts between them can provide a useful framework to organize your entire campaign around. Characters might swear their allegiance to a dragon or trade
conflicts among overlords. If different characters owe allegiance to different dragons, they might cooperate smoothly for a while but then find themselves in conflict when tensions erupt between the
Compendium
- Sources->Dungeons & Dragons->Fizban's Treasury of Dragons
Dragon Factions Draconic factions and the conflicts between them can provide a useful framework to organize your entire campaign around. Characters might swear their allegiance to a dragon or trade
conflicts among overlords. If different characters owe allegiance to different dragons, they might cooperate smoothly for a while but then find themselves in conflict when tensions erupt between the
Compendium
- Sources->Dungeons & Dragons->D&D Beyond Basic Rules
adventures you’re thinking about running to your prospective players. Note the in-world conflicts that might arise, the setting’s overall tone, and the themes you’d like to explore. (The “Every DM Is Unique
, including mind-control magic, helplessness, and death. That said, D&D is a game that has in-world conflicts and mayhem. Certain core elements of the game are difficult to ignore. For example, taking damage
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Points a monster has remaining. It helps to have a system to track damage for groups of monsters. If you aren’t using miniatures or other visual aids, one way to track your monsters is to assign them
Thod (ogre w/ helm): 71
Mur (ogre smeared w/ dirt): 59
If you use miniatures to represent monsters, one way to differentiate them is to give each one a unique miniature. If you use identical
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Points a monster has remaining. It helps to have a system to track damage for groups of monsters. If you aren’t using miniatures or other visual aids, one way to track your monsters is to assign them
Thod (ogre w/ helm): 71
Mur (ogre smeared w/ dirt): 59
If you use miniatures to represent monsters, one way to differentiate them is to give each one a unique miniature. If you use identical
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
onerous, but it helps to have a system for larger groups of monsters. If you aren’t using miniatures or other visual aids, the easiest way to keep track of your monsters is to assign them unique
/ scar): 59 Thod (ogre w/ helm): 59 Mur (ogre who smells like poo): 59 If you use miniatures to represent monsters, one easy way to differentiate them is to give each one a unique miniature. If you use