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Returning 35 results for 'conflicts way riders'.
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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
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
Mythic Odysseys of Theros
by any means short of a wish spell.The fall of the ancient archon empires left some archons bitter and resentful. Seeking to avoid the spread of human civilization, these archons made their way to
the Underworld. The horrors of the place broke their minds, bodies, and spirits and twisted them into the terrifying archons known as ashen riders. When they ride forth upon the mortal world, terrified
Monsters
Fizban's Treasury of Dragons
witness to a murder but doesn’t want to be found or identified.
2
An emerald dragon seeks heroes to participate in a dramatic reenactment of a legendary battle involving dragon riders
go out of their way to avoid interacting with other intelligent creatures. However, their interest in history and culture occasionally gets the better of them, prompting them to seek some engagement
Monsters
Fizban's Treasury of Dragons
riders.
3
An emerald dragon’s assault on a fire giant has attracted the attention of the giant’s clan, and now the dragon seeks aid.
4
Villagers have been going missing, and then
generally go out of their way to avoid interacting with other intelligent creatures. However, their interest in history and culture occasionally gets the better of them, prompting them to seek some
Monsters
Fizban's Treasury of Dragons
a murder but doesn’t want to be found or identified.
2
An emerald dragon seeks heroes to participate in a dramatic reenactment of a legendary battle involving dragon riders.
3
An
their way to avoid interacting with other intelligent creatures. However, their interest in history and culture occasionally gets the better of them, prompting them to seek some engagement with the folk
Monsters
Fizban's Treasury of Dragons
doesn’t want to be found or identified.
2
An emerald dragon seeks heroes to participate in a dramatic reenactment of a legendary battle involving dragon riders.
3
An emerald dragon
emerald dragon has been spying for a villainous cabal, ensuring the villains remain one step ahead of the adventurers.
Connected Creatures
Emerald dragons generally go out of their way to
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->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
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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->Dragonlance: Shadow of the Dragon Queen
characters land on the citadel, it’ll be up to them to find a way to bring it down. Clystran doesn’t know how the characters will escape after destroying the flying citadel, but he promises to watch
they allow their riders to direct their flight as long as their riders don’t give life-threatening orders.
Compendium
- Sources->Dungeons & Dragons->Dragonlance: Shadow of the Dragon Queen
characters land on the citadel, it’ll be up to them to find a way to bring it down. Clystran doesn’t know how the characters will escape after destroying the flying citadel, but he promises to watch
they allow their riders to direct their flight as long as their riders don’t give life-threatening orders.
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->Guildmasters' Guide to Ravnica
clattered on the cobblestones and the wolf-riders bounded over stone bridges. Human and elf infantry flooded through the arteries of the district, streaming past intersections and flowing around buildings
. Griffons and their riders swooped down out of a blanket of low clouds, strafing past the spires. Emmara rode on the shoulder of a massive creature made of a snarl of marble, wood, and vines, her
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->Guildmasters' Guide to Ravnica
clattered on the cobblestones and the wolf-riders bounded over stone bridges. Human and elf infantry flooded through the arteries of the district, streaming past intersections and flowing around buildings
. Griffons and their riders swooped down out of a blanket of low clouds, strafing past the spires. Emmara rode on the shoulder of a massive creature made of a snarl of marble, wood, and vines, her
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->Princes of the Apocalypse
Triboar to the tiny town of Phandalin (about 140 miles), then north another 110 miles or so along the coastal road. Riders who know the way, travel light, and push hardy mounts can make the trip in
Compendium
- Sources->Dungeons & Dragons->Mythic Odysseys of Theros
, though, the beast’s legs give way. Both mount and rider topple, crashing into the dust with a piercing whinny and a sound like snapping branches.
Give the characters a moment to react, encouraging
, read the following text: The sound of racing hooves rises like rolling thunder from the direction the fallen rider emerged. Two more riders round the bend, both wearing dark tunics. The fading light
Compendium
- Sources->Dungeons & Dragons->Mythic Odysseys of Theros
, though, the beast’s legs give way. Both mount and rider topple, crashing into the dust with a piercing whinny and a sound like snapping branches.
Give the characters a moment to react, encouraging
, read the following text: The sound of racing hooves rises like rolling thunder from the direction the fallen rider emerged. Two more riders round the bend, both wearing dark tunics. The fading light
Compendium
- Sources->Dungeons & Dragons->Princes of the Apocalypse
Triboar to the tiny town of Phandalin (about 140 miles), then north another 110 miles or so along the coastal road. Riders who know the way, travel light, and push hardy mounts can make the trip in
Goblin
Legacy
This doesn't reflect the latest rules and lore.
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Species
Volo's Guide to Monsters
.
Hunters. The families of goblins that are skilled in the use of weapons but not privy to any other special knowledge have the second highest status in the tribe. Hunters are often the best wolf riders
serving as the tribe’s boss, a fiend that has made its way into the world, or an undying lord such as a lich or a vampire. (For more information on undying lord patrons, see the Sword Coast
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->Dragonlance: Shadow of the Dragon Queen
Strange Riders Later in the day (likely while the characters are on the streets or walls), the character with the highest passive Wisdom (Perception) score spots a dragonnel ridden by two figures
scales glimmering in the sunlight. Two figures tend to the dragonnel—one in rugged leather, the other wearing the armor of a Knight of Solamnia.
The riders are Clystran and Darrett. If the characters