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Species
Mordenkainen Presents: Monsters of the Multiverse
Centaurs gallop throughout the multiverse and trace their origins to many different realms. The centaurs presented here hail from the Feywild and mystically resonate with the natural world. From the
. These types don’t have rules themselves, but some rules in the game affect creatures of certain types in different ways. For example, the cure wounds spell doesn’t work on a Construct or an
Orc
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Species
Mordenkainen Presents: Monsters of the Multiverse
Orcs trace their creation to the one-eyed god Gruumsh, an unstoppable warrior and powerful leader. The divine qualities of Gruumsh resonate within orcs, granting them a reflection of his toughness
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 is about a
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
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
campaign unfolds, focus adventures on different conflicts to keep the players’ excitement high. Use the Campaign Conflicts tracking sheet to record your campaign’s conflicts (with room to add details
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
conflicts, and an internal logic that will resonate with your players. Five Questions to Consider. As you contemplate a new campaign setting, think about your answers to the following questions: What’s
world of your game is always your own. You can customize it to suit your tastes and those of your players. Using a Published Setting One advantage of using a published campaign setting is that much of
Compendium
- Sources->Dungeons & Dragons->Van Richten’s Guide to Ravenloft
example.” The harsher, the better. Use these exaggerated and opposite reflections as inspirations for creating your Darklord. By basing your Darklord on intimate details drawn from the players’ characters
your own Darklord, consider the relationship that will define their evil in your adventures: their conflict with your players’ characters. Just as a Darklord is the inspiration for a domain, players
Compendium
- Sources->Dungeons & Dragons->Van Richten’s Guide to Ravenloft
committed. Consider selecting those that best complement the players’ characters and that don’t conflict with any boundaries discussed in your group’s session zero (see “Preparing for Horror” in chapter 4
? Once you’ve considered these questions, write down your answers and review them. Mark or highlight the words that resonate or feel creepily evocative. As you proceed through domain creation, refer back to these details for inspiration.
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Lead by Example When you roleplay and narrate with enthusiasm, you add energy to the game and draw your players into the world. Encourage the players to describe their characters’ actions, then incorporate their narration into your accounts of the characters’ successes and failures.
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
, too, but they can share as needed. Let players know beforehand what books (other than the Player’s Handbook) they can reference during a playing session. For example, it’s not appropriate for
Rulebooks As the Dungeon Master, you need this book plus the Player’s Handbook (which contains most of the rules of the game) and the Monster Manual. Your players need access to the Player’s Handbook
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
to a published adventure so that it better suits your campaign and appeals to your players. For example, you can replace the villain of an adventure with one the players have already encountered in
adventure includes a pregenerated scenario with the maps, NPCs, monsters, and treasures you need to run it. An example of a published adventure appears in the D&D Starter Set. You can make adjustments
Initiative
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Rules
rolls for monsters.Surprise. If a combatant is surprised by combat starting, that combatant has Disadvantage on their Initiative roll. For example, if an ambusher starts combat while hidden from a
tied monsters, and the players decide the order among tied characters. The DM decides the order if the tie is between a monster and a player character.Sometimes a DM might have combatants use their
Compendium
- Sources->Dungeons & Dragons->Dragons of Stormwreck Isle
Cloister Quests As the characters explore Dragon’s Rest, the residents talk with them about the problems the cloister is facing. These conversations are opportunities for you to introduce the players
to the adventures that await them in the sea caves, the shipwreck, and the ancient observatory. This adventure is designed to be flexible and give the players the sense that they’re in charge of
Compendium
- Sources->Dungeons & Dragons->Forgotten Realms: Adventures in Faerûn
or otherwise deviate from existing lore, make that clear to your players so they know what to expect. You can take advantage of player expertise by turning such players into a resource at the table. To
return to an earlier example, if the characters arrive in Waterdeep and you don’t have an inn prepared, you can ask one of the experts at your table, “What inn do you stay at, and what’s unique about
Compendium
- Sources->Dungeons & Dragons->The Wild Beyond the Witchlight
points a creature has. However, you can give the players a sense of how well they’re doing against the creature by describing, in narrative terms, how hurt the creature is. For example, if the
player know that their character just took a particularly nasty hit before revealing how much damage was dealt. It’s okay to ask one of your players to make a die roll for you. For example, if you plan
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
adventure in a tavern, but that’s an idea that remains true to D&D. Familiar story elements are fine, as long as you and the players occasionally put a spin on them. For example, the mysterious figure
provide a maximum amount of combat to keep the adventure moving. Surprises Look for opportunities to surprise and delight your players. For example, the exploration of a ruined castle on a hill might lead
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
Draw Players’ Attention Good narration invites the players to examine details of the environment that lead to encounters or important information. Anything you describe with extra, subtle details
draws the players’ attention. Give them just enough to invite further exploration, but don’t create the equivalent of a flashing neon sign reading “This way to adventure!” When using narration to guide
Compendium
- Sources->Dungeons & Dragons->Icewind Dale: Rime of the Frostmaiden
What Secrets Remain Allow time at the end of the adventure for players to reveal any character secrets that have not come to light. Some players will want to keep their characters’ secrets buried
. For the others, work with them to figure out the best way for the characters’ secrets to bear fruit. For example, a character who has the Ring Hunter secret might still be searching for the signet ring
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
that arise from the characters’ actions.
You can adjust a published adventure so it better suits your campaign and appeals to your players. For example, you can replace the villain of an adventure
setting and what is unique and fun about it. Step 2: Draw In the Players. Think about how the characters will get drawn into the situation you’ve established. Consider how the adventure might tie in
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
discussed in the Introduction. Players who like acting thrive in interaction situations, and it’s fine to let those players take the spotlight. They often inspire other players by their example, but
players in the process. You don’t need to be a practiced thespian or comedian to create drama or humor. The key is to pay attention to the story elements and characterizations that make your players
Compendium
- Sources->Dungeons & Dragons->Ravenloft: The Horrors Within
underscores how a creature behaves and conjures a visceral description of the monster. Unexpected descriptions can emphasize a creature’s bizarre nature and unsettle the players. For example, it’s one
thing to say a snake “slithers,” but another to say a sinister shadow or cruel witch does. Use unsettling descriptions and similes. For example, a vine blight’s constricting vines might resemble “noose
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
Quick NPCs An NPC doesn’t need combat statistics unless it poses a threat. Moreover, most NPCs need only one or two qualities to make them memorable. For example, your players will have no trouble
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
villages, towns, and cities as well as the value of the most expensive item the settlement is likely to have for sale. Adjust these numbers as you wish to account for special circumstances. For example, a
?
A settlement doesn’t always require a map. Simply describing the settlement to your players is usually sufficient. But if it’s important for the players to know where certain buildings or other
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
for a balance between ability checks and roleplaying. For example, puzzles are an opportunity for players to do some problem-solving, but players can also lean on their characters’ talents and
information in a book. Taking Turns Often, characters spread out across a room to investigate the elements of the room. (The exploration example in chapter 1 of the Player’s Handbook shows this dynamic
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
and inspire the other players by their example. However, be sure to tailor aspects of social interactions to fit the other players’ tastes too. Involve Specific Characters. If you have players who don’t
players laugh or feel emotionally engaged and to incorporate those things into your roleplaying. NPC Portrayals When thinking about how to roleplay an NPC or a monster, consider one or two adjectives
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide
desolate and gloomy graveyard. Pick a couple of senses (sight, hearing, smell, touch, or taste) to highlight. Describe changes in the environment to direct your players’ attention. For example, a bird alighting on a gravestone might draw the characters’ attention to it.
Compendium
- Sources->Dungeons & Dragons->Vecna: Eve of Ruin
portions of the map on graph paper, an erasable mat, or another surface to help your players visualize locations with unusual shapes or features. Your hand-drawn maps needn’t be faithful to the originals
the characters detect and interact with them. For example, locked doors are indicated on the maps with dots, but you need not include this detail in your hand-drawn maps. One of the maps within shows
Compendium
- Sources->Dungeons & Dragons->Keys from the Golden Vault
Creating a Heist Crew This book’s adventures require the characters to practice teamwork. Encourage your players to think of their characters as longtime associates or perhaps relatives so they feel
tight-knit from the start. Similarly, ask your players to consider creating characters suited to undertaking heists. Combat prowess is less important when sneaking through a guarded complex, for
Compendium
- Sources->Dungeons & Dragons->Out of the Abyss
the usual chance of the encounter being a terrain encounter, a creature encounter, or both (as described under “Random Encounters”). For example, if roll a result of 4, you would tell the players
: “You’ve been making your way through the tunnels and passages for four days …” before describing the circumstances of the encounter to them. With this approach, encourage players to describe what their
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
features. Descriptions such as “the ogre with the nasty scar” and “the ogre with the horned helm” help you and your players track which monster is which. For example, imagine that you’re running an
Tracking Monster Hit Points During a combat encounter, you need to track how much damage each monster takes. Most DMs track damage in secret so that their players don’t know how many hit points a
Compendium
- Sources->Dungeons & Dragons->The Book of Many Things
players are likely to follow your example, so if you want them to use their inspiration cards freely, you should do so as well.
after drawing them or save them for use in major encounters. Note that saving your cards might make players more reluctant to use inspiration, worrying they need to conserve it for later encounters. Your
Compendium
- Sources->Dungeons & Dragons->Phandelver and Below: The Shattered Obelisk
, suggest something simple. For example, Gundren could be a childhood friend or someone who helped the player’s character escape a tough situation. Transportation Details. Ask the players how their
events, take a few minutes to do the following: Character Introductions. Encourage the players to introduce their characters to each other if they haven’t done so already. Connection to Gundren. Ask the
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
DM decides whether an action or a plan succeeds or fails based on how well the players make their case, how thorough or creative they are, or other factors. For example, the players might describe how
make an ability check to do so. This approach rewards creativity by encouraging players to look to the situation you’ve described for an answer, rather than looking to their character sheet or their
Compendium
- Sources->Dungeons & Dragons->Tasha’s Cauldron of Everything
helping the players flesh out the details. For example, if the characters came together to overcome a common foe, the identity of this enemy needs to be determined. If a funeral gathered the group, the
campaign. If there are multiple players in the group, you should encourage them to choose different classes so that the adventuring party has a range of abilities. It’s less important that the party
Compendium
- Sources->Dungeons & Dragons->Dragon of Icespire Peak
, or both. By then, the characters should be 6th level. Give the players a chance to wrap up loose ends before declaring the adventure over. For example, the characters might need to return to Phandalin
next is up to you. If the worst happens and the characters die, their adventure is also over. You can let the players roll up new characters and pick up where their last ones left off, or you can also
Compendium
- Sources->Dungeons & Dragons->The Book of Many Things
ways to interpret the effects and keep the players in suspense. For example, a beloved ally might come to hate a character who draws the Rogue card, and that ally might conceal their hatred for several
campaign. For example, a character who draws the Knight card might meet a warrior along the side of the road, in a tavern, or even trapped in a dangerous dungeon; by freeing the warrior, the character earns
Compendium
- Sources->Dungeons & Dragons->Dungeon Master’s Guide (2014)
Involving the Characters Once you’ve identified what your campaign is about, let the players help tell the story by deciding how their characters are involved. This is their opportunity to tie their
characters’ history and background to the campaign, and a chance for you to determine how the various elements of each character’s background tie into the campaign’s story. For example, what secret