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‘Visit our website at wwrwswizards.com/ indREDITS
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 DuxtaPContents
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 320r
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 playersna 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
aare 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 dunIn 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 jusbled 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