‘epee rus Dot tb cy lab sn Eee ce ‘SESS fee atc wey Wo Cn tea ep ort To Core Rulebook II v.3.5 asd anthe rginal Devons & Daacns game ‘erated by E- Gary Gypieand Dave Ameson “This Wo er Cone game prod conti Opes Gan Cont ‘Ne eto af hsworknayberepossd a rm nour persion elearmmore tout the Open Garin iced the do Stes Lies, ewe ne wear, EUROEAN HEADQUAKTERS {SLA PACIFIO, 6 LATIN AMERICA Wie Gost lg 7 ero Raden re P Sinan T6496 tegen 00 GonrmpoorEN — g8r6ra3*1 est Prating Jul2003 nrc Canc Ts a ofc pce oa pare ‘Visit our website at wwrwswizards.com/ indREDITS DUNGEON MASTER'S GUIDE REVISION Davi Nooyan, Ric ReDMan D&D REVISHON TEAM Rick Baxer, Anpy Cotins, David Noonan, Rich REDMaN, SxrP WILLIAMS DEVELOPMENT AND EDITING Gwenpotrs EM. Kestret. PRO O-F READERS Bit McQuittax, Ca Moone, Karsuro Nagasawa DUNGEON MASTER'S GUIDE DESIGN Monte Coox DUNGEON MASTER'S GUIDE D&D DESIGN TEAM Monte Goox, Joxatuan weer, Sxrp Wirttams ADDITIONAL DESIGN Perer ADKISON, RicHARD Baker, ANDY Corts, Davin Noonan Bayou thet. 30% Jota Mantis, Jou Reve are RR Gere Gn man enor EDETORIAL ASSITANCE Kim Monan Dypssgp Cor vnt, Jere Qurce CORE D&D CREATIVE DIRECTOR MANAGING EDITOR Ep Stark Kim Monay ¢ DIRECTOR OF RPG RED Bret Staviesex A, RATA S Desk ECE THOR Daws Muni CG boay Rn AR T Henry HiccrnsoTHaM. CORE D&D CREATIVE DIRECTOR, Ep Stark a DIRECTOR OF RPG R&D BILL SLavicsEK VISUAL CREATIVE DIRECTOR Jos Scupenerte INTEREOR ARTISTS ee Ot ome ee 8 ol Mart Givorni, En Cop, Dans Guuser- Winer, Scorr Fischer, JOHN Fosrer, JEREMY Janis, Joun ax Lava Laxe¥, Toop Lockwoos,, Davip Mawtax, Riven Mrwura, Wayne ReYNotps, Scott ROLLER, Brray SNoppr, ARNTESWEKEL, San Woop GRAPHIC DESIGN Dawes Munns CyAR T ORG R AMPH BOR Topp Gamare GRAPHIC PRODUCTION SPECIALIST AnGeitxa Loxorz PHOTOGRAPHER Crara Cupxonvrsxy D&D CONCEPTUAL ARTISTS Topp Locxwoop, Sam Woop D&D LOGO DESIGN ‘Mart Abgtsrencer, SHeRRy FLovD GPO FY Belk A Re ee Henry HicGinpornam’ INTERIOR ARTISTS Lans-Guarr Wess, Scorr Fraciten, Jom Foster, Toop Lockwoop, Daya Mantis, Waxxe RexNnowps, ARNIE SWEKEL, Kevin Watken, Sam Woo GRAPHIC DESTGNERS Sta Guinn, Sueney Ford Tyr Of Ro Aeon ER ‘Vicrorta Avsianp, Enis Dorares, Axoztixa Loxorz, Nancy WALKER R VICE PRESIDENT OF PUBLISHING “Manx Kincorr CATEGORY MANAGER ANTHONY VALTERRA PROJECT MANAGER Martix Durnam PRODUCTION MANAGER Cuas DeLoxe OTHER WIZARDS OF THE COAST RED CONTRIBUTORS Pavt Barctay, MIicHELE Carter, JENNIFER ‘Cianke Witxes, Bruce R. Conprii, Mrxe Donats, Davip Ecxetserny, Sxarr Bias, ~ Axprew Frxcu, Jerr Gauss, Ron Hetnsoo, Gwexpoixn EM, Kesrret, CuristoPuer CART O GRAPHER ‘Topp GamBLe PHOTOGRAPHER Crate Cupnonursxy BRAND OM ANA GER Ryan Daxcer ‘ CATE@ORY MANAGER Kerr Strom PROJECT MANAGERS p Lanny Werner, Josu Fisciten DIGI-TECH SPECIALIST eset ena Ponnnss, Cranirs Rvax, Micnart. PRODUCTION MANAGER SELINKER, JONATHAN TWEET, JaMEs Wyarr Guas DeLoxe S P EvCaieAoi, T.H A'N*KOS SEM EC WALL: ot HAN OK, S: Many Exizapere Atten, Srerues Rapsey- " Cinpr Rice, Jr Lix, Rrcuaep Gansrenp, Mckee rua, Avex Wertz, ANDY Sar Eras, ANDREW FINCH ~ Sutra, Mar SMrrn, JErrenson DuxtaPContents Chapter 4: Running the Game ......05 Whet Isa DM? 5 sryle of Py ae Example of Play 8 Running «Game Session... .......10 Chapter 2: Usingthe Rules , More Movement Rules . Movement and the Grid Moving in Three Dimensions Evasion and Pursuit Moving around in Squates Bonus Types otmbat ese Line of Sight Starting an bncounter.- New Combatants. Keeping Things Moving Combat Actions. Artack Ralls. Damage... Effectof Weapon Size Splash Wespons. Area Spells Big and Little Creatures. in Combat, 8. skill and Ability Cheeks 000.0... 30 Saving Throws. jaca Adjudicating Magic ot Describing Spell BCs... Handling Divinations 0... 34 | Creating New Spells, 35. Rewards. as Experience Awards. Story Awards Character Death ‘Making a New. Character . Chapter 3: Adventures Motivation Site-Based Adventures 46 Event Based Adventures. 7 The End ()......ssse0 48 Encounters ssacennnd8 Tailored oF Status Quo... 48 Challenge Ratings and. Encounter Levels... Difficulty ss Tougher Monsters... Location Rewarls and Behavior... Treasure. Bringing Adventures Togecher. Between Adventures ‘The Dungeon. Dungeon Terman, Walls Doors. Rooms Corridors. Miscellaneous Features Cave-tns and Collapses, Mlumination Traps Elements of «Trap ‘Sample Traps Designing a Trap Dungeon Ecology Dungeon Animals, Wandering Nonsters.. Random Dungeons... Dangeen Level ‘The Map and the Key. Rindom Dungeon Encounters A Sample Adventure Statistics Blocks Wilderness Adventures Getting Los Forest erain ‘Marsh Terrain Hills Terrain, ‘Mountain Terrain. Desert Terrain Phins Terrain ‘AquaticTereain ‘Underwater Combat Weather Rendom Wilderness ENCOUNEET. essen Urban Adventures. Weapon and Spell Restrictions Urban Fearwes Urban Encounters. Chapter 4: Nonplayer Characters Everyone in the World NEC Classes. ‘Adept. ‘uistocrat ‘Commoner. Expert Warrior... NPC Statistica NPC Attinsles Fleshing ou NCS Chapter 5; Campaigns. Establishing a Campaign. Mainvaining a Campaign. Charectersand the World around Them e..seayeavs War and Other Calamites Other Campaign Issues. World-Building Building a Different World Advesturing on Othe Planes Plane Deserptions Creaung a Cosmology Chapter 6: Characters Ability Scores, Races Sulbraces ‘Modifying a Commion Race. Changes through Addition and Subsraction 103 103 407 107 108 108 109 2109 140 128 128 Be 129 130 131 133 are 35 14 151 169 160 170 170 si AZ (lass/Race Restrictions ......174 New Races 171 ‘Monsters as Races 172 Clases 174 ‘Moiifying Character Ciasses..174 Grating New Castes. -.csnco 475 restige Class. seer ‘Atsane che wazs ‘Araane Trickster 172 “archmage cca Assassin 80. ‘Blackguard..-- 181 Dragon Disciple 183 Duelist. 18s Davarven Defender..........00186 Eldritch Knight 187 Hierophane 188 Horizon Walker 189 Loremastetssssccsoscosie. sus 490 Mystic Theutge, cons. csonon.0192 Red Wizard». 193 Shadowedancer ros ‘Thaumanargis. 196 How PCs Improve 197 ‘Learning Skills and feats... 197 Learning New Spell... 198 Gaining Class Benefits... 198 General Dowrsime. 198 Gaining ixed Hit Foints....198 Creating PCrabove tstLevel...... 199 Special Cohors 199 unis 200 Mounts 204 ‘animal Companions 203 pic Characters 206 (Chapter 7: Magic Items....... Handling Magic ems Magic Item Descriptions Armor: Weapons Potions and Os Rings Rods. ‘Scrolls Stas Wands Wondrous Items. Intelligent ems. Cursed Items Artifacts. CCeeating Magic lems Masterwork Items e Special Materials Chapter #: Glossary rsa 8 Special Abilities, 8D, Condition Summaty....srssns04+ 300 ‘The Environment. res 302, Visual Aids... 305 Inder... earsees ct SE List of Sidebars 319 List of Numbered Tables 320r Introduction This s the Dunctons & Deacoss® Roleplaying Game, the game that defines the genre and has ser the standard for fantasy role playing fr more than 30 years i Specialy shia the Dingaon Master Cui This book con:| sains information that every Dungeoa Master (DM) needsto set lupadventures, narrate theaction, rn the monsters and referee [the Doscsoxs &Daacons game. This book. the Mayer Handbook andthe. Monster Manual comprise. the core rules for the D&D leume ‘Weve distilled cur knowledge of the D&D® game into the mate rial tha fellows. Whether you need to know how to design an adventure,a campaign, oran entire game world, the material in |this book can, and wil help you { | Noutreamember of select group. Truly, not everyonehas the xe ativityand he dedicat robea DM. Dungeon Mastering (DMing) can be challenging. but is not x chore Youle the lucky one out of your entice cree of friends who play the game. The real fun isin ‘Your hands As you fipdhrough tte Monster Mana or look at pub- lished adventures on astore shelf you get to decide what the player characters (0Cs) take on next. Youget ebuild whale world, swell as design and ple lls nonplayer characters (NPCS). It good to be the DM, The DM defines the game. A good. DM results n.a good game. Since you control the pacing, and the types. of adventures and [encounters the.whole tenor ofthe game iz in your hands. Is fun, [bur its big responsiilry. if youre the sort. of person. tho likes ro iprovide the fun for your friends or t come. upaith new ideas, then youre an ideal eandidite for DM, ‘Once your group has a Dungeon Master however, that doesnt ‘mean that you cant switch around, Some DMs like to takes turn at beingaa player, and many players eventually want.1otrytheit handat DMing. WHY A REVISION? The new Durctons & Onicons game debsted in 2000 nthe three years since the d20 Game System energized the roleplaying game industry we've gathered tons of data on how the game is being played. We consider D&D to be a living game that constanty evolves af it is layed. Using the gathered feedbacl, we've retcaled the game fem the ‘round up and incorporated everyone's suggestions to improve the fame and ths preduct. If this is your fist experience with D&D, we welcome you io a wander fal word of adventure ard imagination. Ifyou played te prior version of this book, rest assured that this revision i testament to our dedication to comtinuous preduct imprevement and innovation. We've updated eras, clarified rules. polished the presentation, and made the game better than twas, This isan upgrade ofthe d20 System, not «new edition ofthe game, This rvision is compatible with existing products, and these products canbe used wih the revision with only minor adjustments. ‘Whats new inthe revised Dungeon Master's Guide? The entre book has been polished and refined, all resgonse to your feedback and to reflec the way the game is actualy being played We've revised the encounter tables and magic item creation rules. We've expanded the movement rules, increased the number cf prestige dasses, added dozens of new ‘magic tems and ragicitem special abilities, and provided plenty ef tols tohelp promote the three-dimensioral experience. ‘Takea loot, play the game. We think youl ike howeverything turned out. —HOWTO USE THIS BOOK ‘No-one expects you to ead this book cover to cover. Itsnatal, novel. Instead. se aranged this bookinto topics that you can refer {to when you need them. Bus, an extended glossary atthe back of [the book provides quick reference toDM-tlated topics. Based on these portions ofthe game that you control, youl find ‘chapters that deal with suaning the game, adjudicating play, we ing adventures, building a campaign, awarding experience, and finding ot creating the sight magic items to stock your ungeons.| Refer to the table of contents and the index:to locate the specific] topic youneed at any given time PLAYING ON THE BATTLE GRID The D&D game assumes the use of miniature figuces, and the. rales are written from that perspective. Ths book coniains battle aridand ether tools to help you visualize the action. The poster sized sheet in the bck ofthe book has «t-inch grid Jon.one sie, anda collection of rooms thet can be used to repre [sentareasin a dungeon on the other side. ‘The las 12 pages of thishook Gustahead of the inden) presenta variety of visual aids that you can use to set up.and play out. encounters and adventures on she gr —Six pages of diagrams that show the squares contained within areas of different sizes and shapes, and graphic depictions of space and reach for creatures of varying sizes. —Six pages of illustrations that represent various dungeon features, sized to fit he 1inch grid, that you can photocopy, cut ‘out, and place on.the grid—enabling players to actually see. what lies before theic characters as they make their stay through | the dungeon. “The power of creating words, controlling deitesand dragons. and leading entire nations is in your hands. You are the masterof the game—the rules, the setting, the action, and ukimatly, the fun, Thisisa great deal of power, and you must use itwisey This book shows you how. THE PURPOSE OF SIDEBARS You ee Blocks of tex that ook ke tis one frequent throughout this book. The information in these sidebars isnot part ofthe rles per 4, but youll fing them usefl and interesting ther own righ. Most sidebars in this book serve ether to introduce rules variants orto give You a glimpse “behind the curtain® inte hw some aspec ofthe DBD same was create. Vatant: To ve you an idea of some of the ways in which ou can slter the DED rules for your oun campaign, some sidebars suggest Varars that you can adopter modi to suit your game. “The basic rules presented inthis book—tht i, everthing net den tied as a variant—apply tothe baseline D&D campaign. Ifyou ae playing in an RPGA® Network event, that ever uses the babe ule n this book Estabishing a standard set of rules makes a woddwice taming network posite Behind the Curtain: Some sidetars provide a furher explanation of why the rules ae the way they are—a bok "behind the curtaln” ino how te game's cesigners make decisions about therules. Ifyou the fort of DM who likes t tinker withthe rules ofthe D&D game, these sidebars ofr some advice and inspiration as you customize the garre for yourself and your playersna your tole as Danigeon Nistor yours the focus ofthe game TF th re, youll get the sgaraes fun twill be to your credit: If i blame, whether its desetved er noi Dont worry, though —rit ning a D&eD® games notas hacd as may seem at Rist. (But dont tell the players that ELA, Dirggeon Mavcering involves writing, terchingg acti fing arbitrating, nd faciliating. Destribed below arethe different utes ofthe DM. Youll find that you like somemore thanothers M2 Acinany hobly, facts hatyou enjoy the ost. bur rerse Jed sharallthe orb ities ae alsoinportan: PROVIDING ADVENTURES ‘Youle primacy sole In the game is 10 pres theother players can toleplay heir charac this, You need to spend. time outside the game sessions them= preparing This is rue whether you writ your ownadvens os oF use prepared adventures that you havepurchased, vdventues bn whi ters, To actomplish Writhignhdventures Creating adventures akesa reat deal of tne, Many DMs fi that they sperd mere ime geting ready forthe game than they oa the rable actually playing These same DMs often find this Creation time to be the most fun and rewarding part of being a Dungeon Master. Making up interesting characte, settings plots and challenges to present before your friends can be a great )< writing good adventures is so important that is teceives its ‘yn chapter inthis book, See Ghapter 3: Writing an Adventure Using Purchased A peasy om, 3) Many-pitblished adv chive if you dont sunt t weite one of Fo Jus want x change of pace. Ina published adver seta pregenerated scenatiowth all the maps, NPCs mon. sters, and treasures youneed, and anadventure plo: designed to tnake the most of them! Semetimes, when you use published adventure, youll see that it presents Challenges yout Would have never thought of on your BANA Remember, however that youre the one who.his to run the adventure: Anything You want w'change, you ab In fie, you will ofte find you need to make at least small changes toi the adventure it your ongoing Campaign and to gt your players inf ae action. You an hove & great del of fun eplocingsbe villain ofan adventure wich one the players have already heard of in your campuign, of changing the background of the adventre so that iielves your players‘charoctess in rays thac the modes designer never could have possblyimagined TEACHING THE GAME Sometiies its going to be your responsibility 10 sto the game how to play. This isnt ‘wonderful oppornunity Teaching reach newcor a butden, bu ther people how t play provides you with new play frsandallows you to set them on the path to becoming top-notch foleplayers Ith easier to learn to play with someone whe alreedy knows the game. Those who are taught bya good teacher who runs a fun game 4INO YaldVHO aare more kely o join inthe hobby-for the long-haul. Use this opportunity to encourage new players to become the sort of people you want ro game with, Here are afew pointers on teaching the game. Read the Players Handbook and know the character creation, rulesso you can help new players build characters. Have exch of] the newcomers tell you what sozt of character he or she wants ro [play and then show them how they.can create those heroeswith the D&D rules. If they dont know.swhatto play, show them the] wplayer character races and classes the Baye’ Handlook briefly) describe each, and let them choose the one that appeals to them [the most. Another option is.t0 keep a few simple characters such as a 1st-level fighter or rogue) around for newcomers ‘Advance those characters in level asthe party advances. and youll have “old friends" who adventure with the party when newcomers play them. | Once.the PCaare czeated, donk worry about teaching the play Jers all the mules ahead of time. All they truly need to know are the} {basics shat apply-1o.understanding their characters (now spells swork, what AC means, how to.use skills and so forth), and they! can pick up most ofthis information as they go along. Remember the most basic rule To attack, make a saving throw, or use a skill, roll ad20 and hepe fora high number. ‘Aslong as you know the rules the players need be concerned only with their characters and how they react co what happens to shemin the game. Have players ell you what they want theirchar lacters to do, and translate that into game terms for them. Teach | hem how she rules work when they need soleazn them, on acase lby-case bass. For example, ifthe playec of wizard wants to cast a spel or the player ofa fighter wants to attack. player tells you. [what the characteris attempting Thea youll se player which { modifier or modifiers adé to the rollofad20,and.wvhat happens asa result, After few times the playerwill knawcwhatro do with- fou asking PROVIDING THE WORLD Every Dungeon Master is the creator of his or hec own campaign world, Whether you use the Garenarx® setting (the standard, D&D campaign setting) or other published setting forthe DS same, such as the Foscornn Reavs* Campaign Setting, its still your world ‘The setting is more than justa backdrop foradventures, a! though itsthat oo. The setting iseveryihingin the fictional world xcept for the PCs and the adventure plot. A well-designed and vwellzan world stems o goon around the PCs, so that they feel a pact of something. instead of apart from it. Though the PCs are powerful and important, they should seem tobe residents of some fantasy world tht is wtimately larger shan they are. Consistency isthe key toa believable fictional world, Whea the Cs go back intotown for supplies, they ought to encounter some [ofthe same NPCs they saw before, Soon, they'll lear the bar heep's name—and shell remember theirs a8 well. Once you have achieved this degree of consistency, howerer, provide an occa sional change. Ifthe PCs come back to buy more horses tthe sta- bes, you could have them discover thatthe man who ran the place went back home to the large city aver the hill, and now his rephew runs the family business That sort of change—one that has nothing to do with the PCs directly, but one that they'll notice—makes the players feel asthough theyne adventuring ina living world as weal astherselve, nor just flat backdrop that | exists only forthem todelve its dungeons. | -ocmuch more on sunning a campaign, see Chapters, ADJUDICATING ‘When everyone gathers around the tale wo play the game, youre in charge. That doesnt. mean you can tll people what to do out- side the boundaies of the game, but it does mean that youte the recognize that you hive ultimate authority aver the game mechan- finalarbiter ofthe rules within the game. Good players willalways] ‘cs, even superseding something in a rulebook. Good DMs know. not io change or avestuma published rule without a good, logical {justification so that the players dont rebel (more on that later to carry our this responsibility, you need to know the rules. [Woute not required so memorize the rulebooks, but you should havea clear des of whats in them, so that whena stuttion comes up that requires a ruling, you know where to reference the proper. rulein the book (Often a situation will arse that isnt explicitly covered by the rules. In such a situation, you need to provide guidance as 0 hos it should he retolved. When you come upon a situation thatthe rules dont seem to cover, consider the following courses of action. + Look so.any simile situation chats covered ina rulebook. Tey toextrapoate from what you see presented there and apply 10 the curtent ciccumstance. {Ifyou have to make something up, stick with it for the rest of the campaign, (This i called a house rule.) Consistency keeps phyerssatisted and gives them the feeling thit they adventure in a suble, prediciable universe and_not in some. random, nonsensical place subject only tothe DM's whims. ‘+ When in_doubt, temember this.handy: litle rule. Favorable conditions add +2 to any-d20 roll. and unfavorable conditions penalize the rol by 2. Youll be surprised how often shisDMS best fiend” will salve problems Ifyou come upon an apparent contradiction in the tules, con: sider these factors when adjudicating. * Arule found in anilebook overrules one found ina published adventure, unless she rale presented in the published adven- ture deals with something specific nd limited tothe adventure] itsel. * Choose the rale that you like the best, then stick with it forthe rest of the campaign. Consistency isa critical aspect of rules adjudication PROPELLING THE GAME EVER FORWARD While all the players are responsible for coatriburing the game, the onus must ultimately fall spon the DM. to keep the game moving, maintain player incerestand keep things fun. Remember thatkeeping things moving is always more impoitant than scarch ing through rulebooks to find she exact deals on some peint ot spending ime in long debates over rules decisions. Evenaa well-run gime can bog down sometimes. Rethaps the players hare been at ia while and are growing alittle iced of the same old thing. Maybe a playing session falls flat for no apparent reason. Sametimes this cant be helped—you'e only human. In fact, occasionally you will find its beter to cancel a playing ses sion or cutit shor rather than havea poor experience that may set hackethe whole campaign However, an average playing session can be turned into amem: rable ons. ora poorsession cane spiced up. Fe example, props «an bring new life roa game. You can make fake parchment from ‘notmual pape, “aging” iby wetting ic slightly with coffee or te and then lettingit dry roan uneven yellow: Toss in afeweresses smallrips and lter when the BCs finda map or amessige you can, actually hand ito them. Old coins, tarot card, a battered book in| 2 foreign lnguage, andthe like all make wonderful bandauts to get playersintoshe spin the game. { ‘Another kind of visual sid is artwerk. In all D&D game prod| ucts. youll find wonderful fantasy illustrations. Look chrough those products, or find a book caver or some other art source to) provide you with a pierce that fte something the PCr will, [encounter:Then when the encounter comes to pis, pull out the pistute and 2ay,"This ja what you ses. While players’ imagine ‘tionsare fertile, sometimes seeing a depiction of something they encounter in.the game—a character, a monster, ota plice—makes the expe in find illustrations in odd places. Jewe enceall the more exciting or real. Sometimes you atelogs can provide mesa his visual aids for some magic items or treasure, and som tory book or encyclopedia wih illustrations is just as good asa fan tasy book, Tolman lave Coe cua eeCae ented, Thats when yo ative, exciting description. Yepper your descrip tions of what the characters see with adjectives and vivid verbs sand eats, “Adank, dark Remember that you are the players « chamber with moss growing in cracks in the stone walls" is much more exciting than ‘s 10-fo0t-by-10-foot room.” Throughout the game, continully ask yourself What exartly do the chanicter see? Do they hear anything? Are thete any noticeable odors? An tunpleasant tang in the air? Do they feel the chill wind against theirskin’ Is their hair rousled by hor, damp gusts No player wll forgsta tense battle on a exumbling bridgein th ‘middle of a thunderstorm, The best way to get the players aten- sgaction, While not every ion is with gripp snier needs 0 be life-threatening or earth-shaking, keep in mind how it would, all seem in some actio th fight, and morsterstoar m goll is exciting, imag be against gnolls on al Some DMs enjoy 1e how much mo ge around ava pt ting just the right atmosphere for thei playing sessions Music is accomplish this. Its ort of like having a soun our game, Not surprisingly those whoenjoy using music in their gimes often use roundracke ‘om adventure mories, thos al, ambient, or othe’ styles work well, Keep in mind, ¢ that some players ma sour players like—an music districting. Be receptive to osphere in which they cant hear, atmosphere are with painted miniatures and dicramss, specially adjusted lighting, and even soura effects, (If the door fo the room yoit ate in squeaks, you may want to use that when the PCs open ‘Another element many DMs employ and many players enjoy the DM to ose diferert voices when speaking “in character acticing several differert accents or to different NPCs can be + striking way 10 make chose characters sund out in the players’ mind ‘Occasionally, litte miming of actions can supplement a game that otherwise exists only in your imagination, Ifan NPC is shriv led and stooped over when she The kickin el walks, stand up and show the pla ly what you mean. When the ceiling above the PCs begias to collase, slam your fists upon the tableto simulate the sound of falling rocks If someone hand and offers something « holds out hi PC, mime the action —almost everytime, the player (assuming the characte haracter’s grasping whatever its. You could x the able ‘even make a playe to remind eve omes out of nowhere. Keep in mind, though, that this sort of activity can quit ator of hn someone could get ablack eye! ina while, real with only the hose characters invisible sit sone that they cant see her, and her voice just Dont act out your combats, or surprise your players ain turns out to bea Finally, every once The NPC they 1 shapechanged unicorn clue they thought led If the giant ix hersin ina dungeon room, and ‘about to storm into the ro moderate or even soft level while describing th sudden e giant enters. Thatll get their attention, STYLE-OF PLAY The DM provides the adventure and the world. The players and ar topatilern gue te we) be ne pc fae bat figuring out what you want s w below as examples. KICK IN THE DOOR dungeon door, fight the monsters and get the style of play is straightforward, fun, exciting. and action-oriented. Very litle time is spent on developing persons for the player characters, roleplaying noncombat encounters, or discussing situations other than what’ ‘going on in che dunIn such a gime, let the PCs face mostly clearly evil monsters and opponents and meet clearly good helpful NPCs (occasion- ally), Dont expect PCs toanguish over what todo with prisoners, cor whether it rightor serong o invade and wipe ovt the bughear Init Dont bother too much with money cr time spent in town. Do whatever it takes to get the PCs back into the action as quickly. a8 possible. Charcter motivation need be no-more developed than a [desire to Kill monsters and acquire reasue. Rules and game balance are very important inthis styl of play.) Lf same characters have combat ability greater than that oftheir) fellows, unfair situations may develop in which the players of the overpowered characters can handle more ofthe challenges and chushave more fan. If youre using thinatye, be very careful about adjudicating rules and think long and hard sbout additions or changes tothe ruleshefore making them. DEEP-IMMERSION STORYTELLING |The Free City of Greyhawk is shrearened by politcal turmoil. The Cs must convince the members ofthe ruling council to resolve thei differences, but eanonly do so after they have come'o terms, with their own differing outlooks and agendas This style of gam: ing is deep, complex, and challenging, The focus fait on combat but on talking, developing in-depth personas, and character inter action. A whole game session may pass without a single die rll. Inthisstyle of game, the NPCs shoul he a5 complex and richly Aetaled 25 the BCs—although the focus should be on metivation and personality, not eame statistics. Expect long daressions from leach player about what his or her character will do, and why, Going 0 store to buy iron raions and rope can he as important an encounter as fighting res (And dont expect the BCs fight [the ores at all unless their characters are motivated 10 do 20.) A character will somesimes take actions against his players beter Judgment, because ‘thats what the character would do: adver ures inthis stle of play deal mostly with negotiations, political maneuverings, and character interaction, Players talk about the “story thit ther are collectively creating. Rules become lessimportantin this style. Since combatisnk.the focus. game mechanics take a back seat tocharacter development. | Skill modifiers rake precedence over combat bonuses, and even then the actual numbers often dont mean rauich. Feel free} change rues to it the players roleplaying needs. You may even want ro streamline the combat system so that i takes les time away from the story SOMETHING IN BETWEEN ‘The style of playin most campaigns is going to fall benween the two ‘extremes just described. There’ plemty of action, but theresa story- line and interaction between characters. well. Hayers will develop theircharscrers but theyllbe eager foget into a ight Provide a nice [misture of roleplaying encounters and combat encounters, Even in ‘aslungeon, youcan presen NPCs that arent meant tobe fought but rather helped out, negotiated with, orjust lke to, OTHER STYLE CONSIDERATIONS A few other strle-related issues are worth your consideration. Serious versus Humorous: How seriously you take things sets the stndad for how seriously the phyers take things, Jokes and silly remarks can make the game mor. fun butshey can also detract from the action. Ifyou. make funny comments dusing the game, expect chat the plays wll £00, Likewise ifyou design adventures thatare lighthearted, create [ec thatate slightly sily.or introduce embarassing or hummor- {ous situations into the game, realize that it changes the tenor of ‘the game. Lf the king ofthe land is talking dog named Muffy or ifthe BCs have to find a brassiere of elemental summoning rather than bier. of elemental summoning dont expect anyone to take, the game 100 seriously. (Overall its recommended that you play things stright. Dont. intentionally insert jokes into the game. Therell be enough jos: ing around at the rable already to keep che game fun. The ingame | setion should remain fay serious although an occasional funny moment is fine). | Naming Conventions: Related 10 how serious or humorous the game is, character names should be fairly uniform in style ‘throughoutthe group, Although any character name isfine in and cf itself a group that includes characters named Bob the Fighte. _Aldorius Killraven of Thstledown, and Runrboy lacks the consi-| tency 1 be credible. Multiple Characters: You need to decide ifeach player is going to be limited to one character ot can have mors shan. one, and whether a players allowed to actually sun more than-on character atthe same time. Generally, it's best if you keep 10 one character per player. However, when players are few, you might allow them to run more than one character just to get the group | size up to at least four characters. THE BOTTOM LINE ‘Youre in charge, This is not being in.charge.as intelling everyone. what to do, Rats you goto decile bane yous payer goa in ‘going to play this game, when and where the adventures take, Face and what bippens. Ua kind of beingin charge. "ADM guides four players through their firscadventuse The pay css playing Tardek (a dwarf ighter, Mialee (an le wizard. Jozan (a human cleric and Lidda (a halfling rogue). These four) adventurers seck the rains ofan abandoned monastesy, drawn by] rumors ofa fabulous fre opal, supposedly hidden there by the) abbor when the place was atiacked ‘Aer passing through the lifeless aboveground ruins of the mon astery the adventurers find arubble-strwn saitcase leading down, ‘Tordek: Let’ giv these upper ruins one more quicklook. DM [Making sme rls in secret ut owing there noting ind in the burned-out shel of te manastery] Yousdont find anything ‘What ore you going todo naw? Jozan: Lefs go down! Lidia: Well ight a torch frst. DM: Fine, but ll need the marching order that youll be in At tis point, he playrsarmnge thei. miiature figures each repre sentinzone character inthe order in wii they will marc down the stars anal dawn coridos, and enter rooms). Tonk goes it, fl: [ewe by Joan (withthe tor), hen Mile, Lida brings up the rer, her player rotingtha se wil be watching behind them casionaly. Af the players dda’ have minis. iting dawn the marching onder ona pee of per would ufc Tordek: Fortunately,the roehlight wont spll my dackvision— thar help us navigate in the dack down there. Jozan: Okay, we go down ihe srs DM: You descend southyard, possibly 30 feet laterally, and at the.end ofthe stairway you see an open space. “Tordek: 1 enterand look around Jozan: I come in behind withthe torch DM:You are ina chamber about 30 fet across tote south and 30 feetwide ast and west, You see 10feot-wide passages othe left. and rightas well as straight ahead, each inthe center ofits espe tive wal, Lookingback, you se the stairway by which you entered the chamber in the center ofthe north val Lildi: What ele do we see? DM:The loor is rough and damp. The ceilings supported by! arches that probably rise to meet in the center. about 20 feet sbove ‘you=its hand to tell because ofall the webs. Some moldering old sacks ase lying in the southwest corner, and some rubbish is jusbled in the center of the loor—dir, old leather, scraps of cloth, and some sticks or bones. ‘After a short discussion and the formation of -plan ah player annauncesan action for hisar her charter. Taek loks dow the uth passage, Miale nestigatesthe rubbish inthe idle, Joan looks at the Did sacks, and, Lida looks aw the west passage. The payers postion. thei fiques on florlan he 1D hasskelchd out on paper. Since noone pid the webs any tention, he DM doesn wry au Spot check to se the sider. DM: Okay. As two of you are looking down the passages and. onan starts looking at the sacks...Lthe DM malls. ouch attack for the monstrous spider in the bs He knows a.14 indicates succes bea heute dou exeryores ACahcal of ine and krotws Male ACs 13.) + Mialee, you feel something land on your shoulder—it feels hnary and moves toward your neck! Mialee: Yikes! What sit? ‘Tordel: Lf Lhearher callout turn around. What do 1 see? DM: Wait esta minute First. Mialee, ol for initiative Mialee- {Rol} got 19! DM: [Rolls iniliatve for the pide, and gets « 9.] Everyone else ‘should roll for initiative as well. Tordek you heard Mialee gp, and you turn toscea large, hairy spsler on her neck, Jezan nll 10, Lidda an 8, and Tork a4 DM: Mile, yougo fis. What do you do? Miale:{ grb it from my shoulder and throw it the ground, where I can stomp on it with my boot, DM: Okay, but your unarmed attack provokes an attack of [opportunity from the sper, soit bites asyou grab ait [He rolls an attack rol forthe per, and gets 46,] Ugh! Miale, you feel a sharp prick on your agck. Make a Fortitude saving thom. Te ployer al gay in far. Mie rll adc ul her Fort tse moder except that its +0 Mialee:Foritude, my worst save! Let} see—15 plus 01, well, 45. 1s that good enough? DM: You feel okay. But the bite still delivers 1 point of damage. Miaiee: Ouch. Olay, then nll a i410 grabiandshrow ittothe ground. DoLsucceed? DM: Jes. The spider lands on the ground and looks like its going ro scutle away, pethapsback up the wall othe webs above. | Joran: My turn, Irun up {9 and smash it with my macet Lzol a natural 20! With my bonus, that’s 2 inal DM: Good rll Youucan move that far and attack so make aol tose if that's critical hit. Jovan: {Eaciedy ming again 15 good enough? DM Yep. Roll damage—twice. Add the results together Jozanz{ Rolls] Sweet! Twelve points altogether once 1 add my Strength konts—sshich also doubled with the cri! DM: That mighty blow smashes the creature ro bis Mialee: Cool. Well, now that all the excitement is over, !'m ‘going 0 earch through this refuse on she floor like said I would DM: Okay. frst, make another Fort sive to see if there are any lingering effects from shat spider bit Mialee: Uh-oh, that doesntsound good [Rolls]... 217! DM: No problems, shen. You fel fine. Looking atthe pile of debeis, youd guess its probably.refse from the spider—leftovers ‘of ie vietime and is own castings. Amid bits of bone and tatters of clothing, you find 19 silver pieces. And make a Search check. ‘Mialee lls 9 and adsher+ Sean moira rsof15— just enough fonotice hiden gem inthe il DM: You see something sparkle inside a small skull. Looking closer, you seeitsagem—a garnet. ‘Mialee: Great I get itout and patit in my pouch, We can try ro appraise it later. You know. !'m getting little nervous about that web Lida: Good point Joran, why not light the webs on fire with yourxorch? Toca: Okay. I do, What happens? (Looks DM&The webs burn quickly. As they do, tiny burning husks of smaller spiders fll from the ceiling, but nothing the sizeof the sreatuce that attacked Tarde: [On lakout] What do we see down the passages? {DM The south tunnel cans straight as far as you can see. The [west corridor ends inadooratabout 20 fee. {)Tondek: Okay, Ill also glance dawn the east passage DM: Yousee the eastcorrdor goes siaight forabout 20fet and then turns corner tohead north Lidia: Les check out thst doce [Everyone ares] DM: Oley. You wall down the west passege. The door is azrea,) heavy thing witha huge ring of corroded bronze inthe center, “Tonlck: Mialee, your Listen modifier i bertrshan mine. Why dont you listen at this door? | Mialee: Okay.1 move forward to do so, {Rolls Liwlla 13 Dol hear anything? DM: Youheara faint momingsound—you cant really tellwhat {cis—that rises and then fades away. The door i hinged on te left {and loks like itpullsinwandroward you, I Mislee:I hear mosning on the other side. Ler's get ready for ‘ction! And by the way. move w mypositon towand the back, ‘Tordck: (Laughs. All right, ll open the door while she elf scrambles othe back of the line. ‘DM: Make a Strength chock Toriek: [Rolls] {only gor a.10 If thats not good enough. can I yan? 'DM:Thats not good enough, bur ifyoule willing spend more sie on it you can keep trying, “Torte (To heatherplayer.} Look, we really want to get through this door, ight? [They.agre.s0 the player tums back fo the DM Tin willing to spend enough time to take 200n my zoll. With my. Strength bonus, that gives me a 2. | DM: Abeasilr good enough. Afiera couple of minutes, Tondek forces open the stuck door. Immediately ablast of cold damp ait gusts into the passage where you are, blowing out Jozans rch, “Tordek: Do Isee anything with my darkvision? DM: Beyond the dooris «chamber with rough walls notblocks of stone like the room behind you. Its 25 feet wide and extends about $0 feet othe south, A steam spills through the room intoa pool, carrying wit ita coli, damp breeze, You dont see anything ‘moving around, ut some cd barrels and buckets are here. Joran: Least ight ona rock, since well never get a torch lit in this wind, DM: Olay, now everyonscan see. ‘Tordek: [look at the ceiling snd the flcor for any more nasty surprises ‘Mialee il ook inthe barrels and buckets Lida: Jozan, bring your light over and well checkout the poo DM Tonlek and Mialee,make Search checks, Lidda and Jozan, sive me Spot checks since you can “searcl” the pool without ge {ung into s,but you can look inka the water to spot anything that might be there. (The players comply.snd fel the DM their results, slthough cM knonsthat heresnothing for Fndek or Malet find} ‘heres nothing alarming about the ceiling and floor, and the buckets are empty. The pool has some small whitefish that look harmless—they dontreacta allo your ight. The poo looks to be 4+ t0.6feet deep with a rough and rocky bottom. Jozan, with Your resulta 17you see that what at first seemed to be a rock formatin. near the center of the pool looks somewhat lke a skeleton. Jozan Cool! Mialee, will you cast your own light spell so can} 1oss this rock down into the pool ro get a better look at this sel on? Kcmight besomething interesting Miilee: Okay,1 do. ‘Jozan: L10ss the rock that I've cast light upon into the water, rowanl the center ofthe poo DN: Yourstone falls to the boitom ofthe pool illuminating the