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Returning 35 results for 'conflicts way resulting'.
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conflict way resting
conflicted way resulting
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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
Monsters
Phandelver and Below: The Shattered Obelisk
. While charmed in this way, the target’s thoughts are sluggish; it can’t take reactions, its speed is halved, and it takes 9 (2d8);{"diceNotation":"2d8", "rollType":"damage", "rollAction
for the ashenwight to develop psionic abilities. A psionic ashenwight is markedly more sapient than other ashenwights, though the resulting consciousness is a new creation separate from who the
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
Monsters
Phandelver and Below: The Shattered Obelisk
poisoned condition for 1 minute. While poisoned in this way, a creature can’t regain hit points.
Tail. Melee Weapon Attack: +8;{"diceNotation":"1d20+8", "rollType":"to hit", "rollAction":"Tail"} to
causes a cloaker to merge with the rotted corpse of its last meal, resulting in a hideous puppeteering Aberration. The cloaker mutate shrouds its actions in a miasma of phantasmic duplicates. It uses the
Monsters
Mordenkainen Presents: Monsters of the Multiverse
way roll initiative, act in the next available turn, and obey the skull lord. The skull lord can have no more than five Undead summoned by this ability at a time.Skull lords have claimed vast regions
first of them appeared in the aftermath of Vecna’s bid to conquer the world of Greyhawk, after the vampire Kas betrayed Vecna and took his eye and hand. In the confusion resulting from this turn
Gnome
Legacy
This doesn't reflect the latest rules and lore.
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Species
Basic Rules (2014)
habitations in Oeble, that particular tenement had been built for humans, and smaller residents coped with the resulting awkwardness as best they could.
But at least the relative largeness of the apartment
surprise and appreciation along the way.
Though gnomes love jokes of all kinds, particularly puns and pranks, they’re just as dedicated to the more serious tasks they undertake. Many gnomes are
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->Eberron: Rising from the Last War
, resulting in the house being fragmented into three semi-independent branches. In another major development, House Thuranni broke away from House Phiarlan during the war, in part because of the
conflicts of interest that arose within an espionage organization that was being called on to serve multiple sides in a complex conflict.
Compendium
- Sources->Dungeons & Dragons->Eberron: Rising from the Last War
, resulting in the house being fragmented into three semi-independent branches. In another major development, House Thuranni broke away from House Phiarlan during the war, in part because of the
conflicts of interest that arose within an espionage organization that was being called on to serve multiple sides in a complex conflict.
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->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->Van Richten’s Guide to Ravenloft
Haunted Traps Like other traps, haunted traps represent threats leveled toward trespassers. They originate in an area spontaneously, often resulting from overwhelming negative emotions, tragedy, or
. Such traps provide a way to theme the dangers and monsters of a haunted place to reveal a grim history or frightening tale. When creating haunted traps, consider what events brought them into being and how the trap’s effects suggest those origins.
Compendium
- Sources->Dungeons & Dragons->Van Richten’s Guide to Ravenloft
Haunted Traps Like other traps, haunted traps represent threats leveled toward trespassers. They originate in an area spontaneously, often resulting from overwhelming negative emotions, tragedy, or
. Such traps provide a way to theme the dangers and monsters of a haunted place to reveal a grim history or frightening tale. When creating haunted traps, consider what events brought them into being and how the trap’s effects suggest those origins.
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->Icewind Dale: Rime of the Frostmaiden
Into the Caves of Hunger When the floating city of Ythryn plummeted from the sky into the Reghed Glacier centuries ago, the impact of the collision (and the resulting heat) drove the city deeper into
Reghed Glacier. Some of its caves and tunnels formed naturally, some formed as a byproduct of Ythryn’s fall, and still others are the work of creatures such as remorhazes that can dig or melt their way
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->Icewind Dale: Rime of the Frostmaiden
Into the Caves of Hunger When the floating city of Ythryn plummeted from the sky into the Reghed Glacier centuries ago, the impact of the collision (and the resulting heat) drove the city deeper into
Reghed Glacier. Some of its caves and tunnels formed naturally, some formed as a byproduct of Ythryn’s fall, and still others are the work of creatures such as remorhazes that can dig or melt their way
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
Dragonflesh Grafters The best way to identify one of these grafters is if you see someone running around chanting, “Look at me! I’m a dragon! I’m a draaaaaagon!”
-Fizban
Dragonflesh grafters
twisted by magical malevolence, with only a shadow of their former selves remaining. In the most extreme cases, the resulting abomination holds no remnant of the person it once was and is utterly ruled by a dragon’s lust for treasure.
Compendium
- Sources->Dungeons & Dragons->Fizban's Treasury of Dragons
Dragonflesh Grafters The best way to identify one of these grafters is if you see someone running around chanting, “Look at me! I’m a dragon! I’m a draaaaaagon!”
-Fizban
Dragonflesh grafters
twisted by magical malevolence, with only a shadow of their former selves remaining. In the most extreme cases, the resulting abomination holds no remnant of the person it once was and is utterly ruled by a dragon’s lust for treasure.
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->Eberron: Rising from the Last War
were seized by the crown during the Last War and sold to wealthy citizens of Breland. The resulting influx of residents has brought more diversity to the district, with dragonmarked heirs and even
to do that. No bridges or lifts connect Skyway to the rest of the city, so the usual way to reach the floating district is by taking a skycoach or hiring a flying mount.
Compendium
- Sources->Dungeons & Dragons->Eberron: Rising from the Last War
were seized by the crown during the Last War and sold to wealthy citizens of Breland. The resulting influx of residents has brought more diversity to the district, with dragonmarked heirs and even
to do that. No bridges or lifts connect Skyway to the rest of the city, so the usual way to reach the floating district is by taking a skycoach or hiring a flying mount.