The Delian Tomb

A First Level Adventure for First Time Players

This adventure was crafted from the "Running the Game" series on YouTube by Matt Colville.
This adventure is intended as a supplement to Matt's series, so please take
the time to watch his videos before you read and run this!
Thank you!

Overview
This adventure begins in a small hamlet in the backwater of the
kingdom, it's a quiet place... most of the time.
Recently, there has been an in in lux of goblins in the region
and some of the foul creatures have even begun attacking the
farms in the outskirts of the village of Villane.
The Player Characters are all friends from a nearby village,
traveling to Bedegar, in search of adventure.
It isn't long before they ind themselves mixed up in the
business of Goblins, persuing the daughter of the Blacksmith
into the depths of a long forgotten tomb.
This is their opportunity to prove themselves, and to rescue
someone in need, if they can survive the perils of the Delian
Tomb!
Part 1: You Start in a Tavern
When the Player Characters arrive in Villane, the villagers
recognize them as adventurers — Ratcatchers — the sort of
people who will ight just about anything for a bit of coin. Just
the sort of people Villane is in need of.
At this point, all the Players have their Character Sheets, and
you're ready to start playing. Read this next part aloud:
Dusk falls, and several travelers come to the Green Dragon
Inn for food, warmth, and a place to rest. A handful of
villagers are here, ea ng, drinking, and talking about their
day. One day is much the same as another in the hamlet of
Villane. But, looking at you, something tells these villagers
something will be different today.
Now would be a great time for you ask the Players to describe
their Characters. It's good for everyone to get an idea of who
they are and who their party is made up of, it will help you all
get a bit more immersed in the story.
Once everyone has shared their Player Character, you can get
the ball rolling again by introducing the irst Non-Player
Character, Matt, the Serving Boy.
Can I get you anything to eat? To drink? Where are you from,
where are you going? Not many ratcatchers coming through
Villane these days.
This is your opportunity to help the players get immersed in the
world, feel free to embelish Matt with personality! Take a
moment to describe what he looks like, how he moves, what he's
doing as he approaches.
While Matt is off ixing whatever the PCs have ordered, and
the characters have had a chance to get to know each other and
the NPCs, something has to happen...
A large man, wearing a black leather apron over linen shirt
and woolen pants bursts in the door. He smells of sulfur and
carries a heavy hammer.
"They got Bess", he says, "they got my girl!"
Goblins have kidnapped the Blacksmith's daughter!
That's right, the second key NPC, Lars, The Blacksmith.
The villagers all know Lars, he's well-loved, but none of them
are equipped to face the challenge of hunting down goblins.
Lars will recognize a band of ratcatchers as quickly as anyone,
and he won't hesitate to approach the adventurers to ask for
their help.
If your players aren't motivated, simply by their sense of
justice and duty, you can have Lars point out that their is a
standing bounty for goblin ears by order of the Duke.
Now is a good time to remind you, one of your best moves as a
Dungeon Master is to simply ask the players, "What do you do?"
— this is a great opportunity to use that move!
Once Lars has convinced the adventurers to help, you can
continue on to Part 2 .
Part 2: Goblin Tracks
The Smithy
Lars doesn't know where the goblins took his daughter, but he's
con ident that a competent adventurer can ind tracks in the
area around his house.
While Lars can offer this information to the players if they
seem to be feeling stuck, you should give them the chance to
propose searching the crime scene on their own.
You can simply narrate the journey from the Green Dragon
Inn to Lars' Smithy, describing the dirt road and the trees that
dot the path.
Once you arrive at the Smithy, use your classic DM move and
ask the players, "What do you do?".
You can even has Lars nudge them and ask, "do you see any
tracks?".
Here is your irst opportunity to ask the player searching for
tracks to make a Ability Check .
The tracks are plentiful, and easy to spot, a character who
succeeds on a DC 10 Wisdom (Survival) check recognizes that at
least two goblins dragged something north, into the forest. "The
Boar Wood," Lars notes.
Ability Checks
When you ask a player to make an ability check, they
roll a d20 and add the relevant ability modifier.
In the above instance, a character searching for
tracks would roll a Wisdom (Survival) check set to a
Difficulty Class of your choosing.
If the total equals or exceeds the DC, the ability
check is a success—the creature overcomes the
challenge at hand. Otherwise, it’s a failure, which
means the character or monster makes no progress
toward the objec ve or makes progress combined with
a setback determined by the DM.
Remember these common DCs as a rule of thumb,
you can choose any number for your challenge.
Difficulty DC
Easy 10
Moderate 15
Hard 20

Random Encounters
The world of Dungeons & Dragons is burs ng with
monsters and villains!
Whenever an adventurer sets out from the lawful
lands of civiliza on, they risk being set upon by agents
of ill intent.
Any me the players stop to rest outside of a
civilized area, you can use a Random Encounter table
to keep them on their toes.
If the players feel like they can stop and rest any
me they're wounded, or low on spell slots -- they will.
This behavior will grind everything to a halt, and one
of your main jobs as a DM is to keep the game moving!
The Boar Wood
The Boar Wood is a large expanse of forest, inhabited mostly by
boar — as the name suggests. The locals hunt here frequently,
and it is free of goblins. If the goblins went this way, they must
have a hideout somewhere beyond the Boar Wood .
The journey to the other side of the forest is going to take a bit
longer than what they can cover in a single day, the adventurers
will be required to spend the night.
This is a great opportunity to remind the players that the
wilderness is a dangerous place, your goal here is to make the
players take watch in middle of the forest and feel wary,
wondering if something is going to attack them in the middle of
the night!
You travel deep into the Boar Wood, tracking the trail le by
the goblins long in the night. The darkness has become too
great to navigate the forest any further, and so you find a
small clearing and set up camp.
Ask the players to decide who will take irst watch, and ask that
player to roll a d12 .
Random Encounters in the Boar Wood
d12 Encounter
1-10 - Check against a DC set by Passive Percep on (10 + the
11 -
12 A wild boar comes to inves gate (non-combat)
While you could choose to throw something hostile at the
players, the goal here is to get them to the tomb as quickly as
possible, but rolling dice is fun and it tells the players that
something could happen.
So, excepting the curious boar who may have come by to sniff
around the camp, the evening passes uneventfully.
Once outside the forest, after an hour or two of travel, the
adventurers will see their destination in the distance.
As you break through the treeline, you briefly spot a small form
moving about the hilltop ahead of you.
As the players emerge from the Boar Wood, they spot the
movement of a goblin patrol.
It's time to ask them once again, "What do you do?".
Part 3: Out of the Woods
The adventurers have tracked the goblins through the forest and
discovered their hideout. The hideout appears to be an ancient
ruin, an old structure infested by the goblins recently.
Goblin Patrol
Just beyond the reach of the Boar Wood, a clearing stretches out
before low sprawling hills. In the distance the stonework of the
tomb is just barely visible between the sparse trees and rolling
hills.
Any players who decide to monitor the hilltop before
approaching will spot two goblins patrolling the area.
This is a good time to check if the Player Characters are
sneaking as they make their approach.
Feel free to ask your players a leading question like, "Are you
trying to avoid being seen?", to which they will almost always
say, "Yes!". Reminding the players to be cautious this way will
help reinforce the verisimilitude of the game world.
If any of the adventurers are spotted, the goblins will ready
their bows and will not be surprised when the combat begins.
After the irst round, every time a goblin takes a turn, check to
see if they have taken any damage. If they have taken damage, or
their buddy was slain, the goblin will retreat to warn its
brethren inside the tomb.
Until the goblin is either dead, or inside, they will spend their
movement retreating and their action iring arrows back at the
adventurers.
If the goblin patrol survives long enough, you might have him
shout a warning to the goblins guarding the entrance of the
tomb. If this happens, the Player Characters are in range to see
that the guards leave their posts to retreat into the tomb. The
guards have gone to alert the others of the danger coming their
way.
Determining Surprise
Before you begin a combat encounter, you must first
determine who, if anyone, is Surprised.
If anyone was a emp ng to be sneaky, prior to the
encounter, have them roll a Dexterity (Stealth) Ability
Wisdom Modifier) each creature on the opposing side.
A creature ac vely searching for another creature
will roll a Wisdom (Percep on) check against the
Dexterity (Stealth) roll of the other creature.
If neither side a empts to be stealthy, they no ce
each other at the same me.
A surprised creature cannot take an ac on or move
on their first turn. They cannot take a reac on un l
a er their first turn ends.
For complete details regarding the ins and outs of
combat, refer to Chapter 9 of the Player's Handbook!

Part 4: The Delian Tomb
Long ago, when the Caelian empire ruled, a knight by the name
of Delius founded the Delian Order and together they devoted
their lives to the ight against Maglubiyet. This is their resting
place, long forgotten.
Today, the goblins who have infested the tomb are preparing
to desecrate the site with a human sacra ice. It is their intent to
consecrate the tomb in the name of Maglubiyet.
1. Entrance
Two goblins stand guard before the sundered, stone doors of
the tomb. (Unless of course, they have been warned by the
patrol!) .
As the Player Characters approach the guards, it would be a
good idea to ask them once again if they are attempting to be
sneaky. If they are, ask them to roll a Stealth Check against the
goblin guards' Passive Perception.
It's also possible for the Player Characters to simply use the
geometry of the ruins to sneak up on the unwitting guards,
easily gaining a Surprise Round when they initiate the combat.
On the goblins' irst turn of combat, they will both attempt to
retreat inside. The presence of the adventurers tells them that
the patrol was killed, and they aren't going to stand around
awaiting that same fate!
2. Offering Room
After the adventurers have dispatched the goblin guards, they
descend into the tomb itself. Remember to describe the the
tomb using as many senses as seem reasonable to you.
It's very dark as you move down the steps and into the tomb,
the musty air cools by the step. You can hear faint, rhythmic
cha er echoing up from the heart of the structure.
The goblins have begun their ritual, the distant chatter is the
chanting of a goblin shaman.
At the bottom of the stairs, a dim light illuminates a large room
littered with moldy bedrolls and goblins!
The number of goblins in this room should be equal to 1+
the number of Player Characters. Additionally, if the players
managed to sneak past the goblin patrol without ever alerting
them, they too will join the ight after the irst round of combat.
If the players have managed to deal with both the patrol and
the guards, without allowing them to retreat into the tomb to
warn the others — the players have the opportunity to catch
these goblins by surprise.
If, on the other hand, both sides are aware of the other, be
prepared for the players to try some out of the box thinking.
They may not want to venture into a den of goblins, they may
instead try to lush them out. Be prepared for anything. Let the
players experiment. In fact, encourage it!
Once the goblins are dealt with, take a moment to describe
the room.
The brazier at the center of this room gently illuminates the
walls. On one side, a detailed carving depicts a company of
knights figh ng back a torrent of monsters, perhaps even
goblins!
On the other wall, there is an inscrip on, it reads: "I swear
to fight chaos in all of its forms, to uphold order, by honor of
my word"
The next room lies beyond a twisting corridor that fades into
darkness beyond the light of of brazier. Halfway down the
corridor, just before the turn, there lies a pressure plate trap.
3. Pressure Plate Trap
A character who succeeds on a DC 12 Wisdom (Perception)
check will notice the trap, the faint light of the brazier just
barely catching the raised bit of loor. If a character then
succeeds on a DC 10 Dexterity check
using thieves' tools, they can
disable the trap without
triggering it.
This can also be attempted with any bladed weapon, but the
check is made at disadvantage.
Additionally, if there are any Small sized Player Characters
(Hal ings, Gnomes) they won't trigger the trap.
Any other creature who steps on the pressure plate will
trigger the trap, causing a scythe to sweep down from the
ceiling. The character who triggered the trap must succeed a on
a DC 15 Dexterity saving throw or suffer 1d8 slashing damage.
Once the trap has either been disabled, or triggered it is
exhausted and will not be triggered again.
4. Hall of the Oathkeeper
Dominated by a giant stone statue of a knight, raised up on a
dais, standing tall with their sword point down between their
feet.
A thick haze billows up from a makeshi altar in the center
of the room where a goblin adorned with jewelery and
warpaint chants rhythmically while they rock back and forth.
Behind the goblin, a young girl quietly whimpers, head in
her hands, from a small cage near the foot of the statue.
What was once the sacred chamber consecrated by the Delian
Order on behalf of Lord Delius has been desecrated by the
goblins.
Along with the goblin shaman the leader of this band of
miscreants resides here, a bugbear.
This is the irst time the players have encountered a clever
enemy, the bugbear is not driven by fear like his goblin toadies.
It will ight tactically, it might even have a potion of healing!
Once the monsters have been slain, and Bess has been helped
out from the cage, the players will likely wish to search the
room.
The makeshift altar is covered with bits of charcoal, cork,
sulfur, and other spellcasting materials. Amidst these
accoutrements there are two potions of healing.
Near the cage where Bess was being held, there is a large nest
of blankets where the bugbear slept. The nest is littered with a
few dozen gold pieces and gemstones worth 2d20 + 10 gp.
The statue of Delius has an inscription at the base, it reads:
If you are to keep this, you must first give it to me.
If any character speaks, "I give my word" — or anything in the
spirit of that — the secret door leading to the tomb will open!
5. Tomb of the Delian Order
The true resting place of the Delian Order, hidden away behind
the Hall of the Oathkeeper. Inside, there are six sarcophagi
bearing the resemblances of their knights they hold. As well as a
much larger, more elaborately carved sarcophagus at the center,
bearing the form of Lord Delius.
Each of the sarcophagi have the names of their occupants
etched at their feet. There is a journal, mostly rotted away, laying
atop Delius' sarcophagus.
It is written in Common, and what can be read explains the
origin of the Delian Order and their purpose.
There are also a number of potions of healing scattered
about the tomb, left as offerings to the Order long ago.
If any character attempts to open a sarcophagi, they will
disturb the spirits of the Delian Order. Righteous skeletons will
emerge from the sarcophagi, eager to expel the desecrators from
their tomb.
One exception being, in the event that the character who
attempts to open a sarcophagi is a Paladin who has sworn the
Delian Oath, for they are a member of the Delian Order. The
treasures are theirs by holy right!
Each sarcophagi holds chainmail, as well as a longsword,
and a shield bearing the Coat of Arms of the Delian Order.
Delius' sarcophagus hold chainmail, and a shield bearing
the Delian crest, as well as the Golbin Slayer Longsword.
The Goblin Slayer Longsword has the same properties as a
standard longsword, but it does an extra 1d6 damage to
Goblinoids (goblins, hobgoblins, and bugbears!).
Master of the Dungeon
Remember that the world your players are exploring is
ul mately cra ed by you. If you feel that things are
going too easily, or too difficultly, you can add or
remove enemies, or tweak them to be er fit the tone
and pace you're aiming for.
Perhaps the party has been lucky, or smart, and they
are entering the final room with plenty of health and
spell slots, you can throw an extra goblin lackey into
the Hall of the Oathkeeper!
Maybe they've had a rough me, it's perfectly alright
for you to suggest they take a short rest in one of the
rooms they've already cleared.
Monster Stat Blocks Goblin
The monsters appearing in the adventure are listed here. Small humanoid, neutral evil

Armor Class 15
Bugbear Hit Points 7
Speed 30 ft.
Medium humanoid, chaotic evil

Armor Class 16 STR DEX CON INT WIS CHA

Hit Points 27 8 (-1) 14 (+2) 10 (+0) 10 (+0) 8 (-1) 8 (-1)
Speed 30 ft.
Skills Stealth +6
Senses darkvision 60 ft., passive Perception 9
STR DEX CON INT WIS CHA Languages Common, Goblin
15 (+2) 14 (+2) 13 (+1) 8 (-1) 11 (+0) 9 (-1) Challenge 1/4 (50 XP)

Skills Stealth +6, Survival +2

Senses darkvision Ac ons
Languages Common, Goblin Scimitar. Melee Weapon Attack: +4 to hit, reach 5 .,
Challenge 1 (200 XP) one target. Hit: 5 slashing damage

Brute. When the bugbear hits with a melee weapon Shortbow. Ranged Weapon Attack: +4 to hit, range
a ack, the a ack deals one extra die of the weapon's 80 ./320 ., one targe. Hit: 5 piercing damage
damage to the target (included below). Goblins are black-hearted, gather in overwhelming
numbers, and crave power, which they abuse.
Surprise Attack. If the bugbear surprises a creature and
hits it with an a ack during the first round of combat,
the target takes an extra 7 (2d6) damage from the
a ack.

Ac ons Goblin Shaman

Small humanoid, neutral evil
Morningstar. Melee Weapon A ack: +4 to hit, reach 5
., one target. Hit: 11 piercing damage.
Armor Class 15
Javelin. Melee or Ranged Weapon A ack: +4 to hit, Hit Points 7
reach 5 . or range 30 . - 120 ., one target. Hit: 5 Speed 30 ft.
piercing damage, or 9 piercing damage in melee.
Bugbears are cruel and unruly humanoids that live to STR DEX CON INT WIS CHA
bully the weak and dislike being bossed around. Despite
their in mida ng builds, bugbears move with surprising 8 (-1) 14 (+2) 10 (+0) 10 (+0) 12 (+1) 8 (-1)
stealth and are fond of se ng ambushes.
Skills Stealth +6
Senses darkvision 60 ft., passive Perception 9
Languages Common, Goblin
Challenge 1/4 (50 XP)

Spellcasting. The Goblin Shaman is a 1st level spell

caster. Its spellcas ng ability is Wisdom (spell save DC
11, +3 to hit with spell a acks).
Cantrips (at-will): light, mending, sacred flame 1st
level(2 slots): healing word, shield of faith

Ac ons
Dagger. Melee Weapon Attack: +4 to hit, one target.
Hit: 5 slashing damage
Goblins Shamans are much the same as their brethren,
though they have a knack for spellcas ng, which they
use to strike fear into their lesser counterparts as a
means to gain status.
 Magic Items
Skeleton
Medium undead, lawful evil & Other Treasures
The items appearing in the adventure are listed here.
Armor Class 13 (armor scraps)
Hit Points 13
Speed 30 ft. Weapons
Longsword
STR DEX CON INT WIS CHA Weapon, uncommon The preferred weapon of a martial
swordsman. The longsword offers versatility in combat,
10 (+0) 14 (+2) 15 (+2) 6 (-2) 8 (-1) 5 (-3)
bene iting from either two-handed ighting or the use of a
shield.
Damage Vulnerabilities bludgeoning
Damage: 1d8 Slashing
Damage Immunities poison
Condition Immunities poisoned Properties: Versatile (1d10)
Senses darkvision 60 ft. Weight: 3 lb.
Languages understands languages it knew in life but
cannot speak
Challenge 1/4 (50 XP)
Armor
Chain Mail
Ac ons Armor, uncommon
Made of interlocking metal rings, chain mail includes a layer
Shortsword. Melee Weapon A ack: +4 to hit, reach 5 ., of quilted fabric worn underneath the mail to prevent cha ing
one target. Hit: 5 piercing damage. and to cushion the impact of blows. The suit includes gauntlets.
Armor Class: 16
Shortbow. Ranged Weapon Attack: +4 to hit, range
80 ./320 ., one target. Hit: 5 piercing damage Stealth: Disadvantage
Weight: 55 lb.
Assemblages of bones animated by dark magic,
skeletons heed the summons of those who create them Shield
or rise of their own accord in places saturated with Armor, uncommon
deathly magic.
A shield is made from wood or metal and is carried in one
hand. Wielding a shield increases your Armor Class by 2. You
can bene it from only one shield at a time.
Armor Class: +2
Weight: 6 lb.
Darkvision
Many creatures in the worlds of D&D, especially those
that dwell underground, have darkvision.
Magic Items
Within a specified range, a creature with darkvision Potion of Healing
can see in darkness as if the darkness were dim light, Potion, common
so areas of darkness are only lightly obscured as far as
When you drink this potion, you regain 2d4 + 2 hit points.
that creature is concerned.
However, the creature can’t discern color in
darkness, only shades of gray. Goblin Slayer Longsword
Magic weapon, rare
This is the weapon of Lord Delius, founder of the Delian
Order. His weapon is blessed with a righteous ire that burns the
lesh of Maglubiyet's children.
Damage: 1d8 Slashing + 1d6 to Goblinoids
Properties: Versatile (1d10) + 1d6 to Goblinoids
Weight: 3 lb.
Appendix A: Running the Game
This adventure was crafted from the Running the Game series
by Matt Colville, it's intended for irst-time Dungeon Masters
and Players. As such, this section will be a quick overview of the
rules of the game and the role of the DM. The purpose of this
adventure is to get you running D&D, tonight!
The Dungeon Master
The role of Dungeon Master (DM) is one of many hats:
The DM is the narrator. It is your job to set the pace of the
story and present the many scenarios the players will
encounter.
The DM is the referee. It is your job to adjudicate unclear
rulings, and to dictate the results of the many dice rolls that
carry the story forward.
The DM runs the monsters. In combat, your job is to play
the role of the monsters and villains, choosing their attacks,
movements, and rolling their dice.
The DM roleplays Non-Player Characters (NPCs) .
Remember, while it is your job to run the monsters, it is not
the relationship between the DM and the Players should not be
adversarial. Your primary function is to facilitate fun at the table,
for everyone!
The Three Pillars
of Adventure
Adventurers can try to do anything their players can imagine,
but it can be helpful to talk about their activities in three broad
categories: exploration, social interaction, and combat.
Exploration includes both the adventurers’ movement
through the world and their interaction with objects and
situations that require their attention.
Exploration is the give-and-take of the players describing
what they want their characters to do, and the Dungeon Master
telling the players what happens as a result.
On a large scale, that might involve the characters spending a
day crossing a rolling plain or an hour making their way through
caverns underground. On the smallest scale, it could mean one
character pulling a lever in a dungeon room to see what
happens.
Social interaction features the adventurers talking to
someone (or something) else.
It might mean demanding that a captured scout reveal the
secret entrance to the goblin lair, getting information from a
rescued prisoner, pleading for mercy from an orc chieftain, or
persuading a talkative magic mirror to show a distant location
to the adventurers.
Combat involves characters and other creatures swinging
weapons, casting spells, maneuvering for position, and so on —
all in an effort to defeat their opponents, whether that means
killing every enemy, taking captives, or forcing a rout.
Combat is the most structured element of a D&D session, with
creatures taking turns to make sure that everyone gets a chance
to act.
Even in the context of a pitched battle, there’s still plenty of
opportunity for adventurers to attempt wacky stunts like
sur ing down a light of stairs on a shield, to examine the
environment (perhaps by pulling a mysterious lever), and to
interact with other creatures, including allies, enemies, and
neutral parties.
Verisimilitude
One of the most important parts of running the game is
maintaining the suspension of disbelief around your table.
Allowing for an environment where the players can get lost in
the gameworld not only elevates the gameplay, it also motivates
roleplay.
On top of that, the more immersed the players are in the
game, the fewer distractions there will be and it will be easier to
keep things moving.
Staying in Character
Remember to use Player Character names when addressing
your players while in character.
Doing so will help everyone stay in the moment and
encourage roleplaying.
Narrating Resolutions
Whenever something happens in the course of a combat
encounter, remember to maintain the immersion of the
gameplay.
If the ighter successfully attacks the goblin for 4 points of
damage, don't simply relay that information to the players.
Instead, say something like, "Conan deftly moves between
enemy blades, turning to slash his own sword across chest of
the goblin chieften!"
Keep the Ball Rolling
Nothing breaks immersion like cracking open a rulebook every
other second. Make sure everyone is on the same page, and
decide when to look up rules. Many groups like to note the rules
they aren't clear on and look up the of icial rulings after the
session. Don't be afraid to declare DM iat, so long as you aren't
ruining anyone's fun: the DM has the inal word.
Rolling a Crit!
Whenever you roll the d20, there is the poten al for
extraordinary success or spectacular failure.
If the d20 roll for an a ack is a 20, the a ack hits
regardless of any modifiers or the target’s AC. This is
called a cri cal hit!.
If the d20 roll for an a ack is a 1, the a ack misses
regardless of any modifiers or the target’s AC. This is
referred to as a cri cal miss!
Improvising Ability Checks
The vast majority of rulings you make as DM come down to gut
instinct. The Rogue will attempt to leap-frog over the Fighter to
do an elaborate lying dagger attack on the Goblin, or the Wizard
will try to use a Firebolt to light a distant torch and illuminate
the path across the rickety rope bridge to ensure safe footing...
There are no explicit Dif iculty Classes (DC) for these exploits.
It is up to you, as DM, to decide.
Use the following table as a rule of thumb:
Difficulty DC
Easy 10
Moderate
Hard
15
20
Ability Checks are made with a d20, allowing for the player to
add any relevant Skill Pro iciencies to their roll.
If the task requires that the Player Character perform a agile
lourish, consider the Ability being checked to be Dexterity. If
the task requires deftness of mind, consider the Ability being
checked to be Intelligence. If the Player Character has any Skill
pro iciencies that you ind relevant to the exploit allow them to
add that bonus to their roll!
Remember, it's not always possible to do anything the player
thinks of and it is at your discretion to tell the player if
something is simply impossible. But, try to ind a middle ground
if you can.
Ability Checks are written as Ability (Skill) . So, for instance,
the Wizard's Ability Check and DC might be formulated as "DC
18 Intelligence (Sleight of Hand) ."
Combat
Dungeons & Dragons is game about combat, everything else is a
vehicle to the next encounter. These rules will help you get
started, but remember to read through your monster's stat
block in order to create inspired and dramatic combat
encounters that utilize all of their abilities!
Establish Positions
The DM decides the positions of all of the monsters and Player
Characters based on their Marching Order or stated position in
the current room. It is up to the DM to determine the distances
between the PCs and their adversaries, as well as the direction
they are each facing.
Determine Surprise
Before you begin a combat encounter, you must irst determine
who, if anyone, is Surprised.
If anyone was attempting to be sneaky, prior to the encounter,
have them roll a Dexterity (Stealth) Ability Check against a DC
set by Passive Perception (10 + the Wisdom Modi ier) each
creature on the opposing side.
If neither side attempts to be stealthy, they notice each other
at the same time.
A surprised creature cannot take an action or move on their
irst turn. They cannot take a reaction until after their irst turn
ends.
Roll for Initiative!
The irst thing you do when you begin a combat encounter is ask
all the players to "roll for initiative".
Everyone rolls a d20 and adds their Dexterity modi ier to that
roll, this is their Initiative.
The DM rolls for the monsters and any NPCs that might
participate in the combat.
The order of Initiative is determined from highest to lowest,
and this order is maintained from round to round.
If any ties occur, it is at the DMs discretion who goes irst. If
two players tie, you might allow them to choose or you might
pick the creature with the higher Dexterity.
Turns
A round of combat consists of each creature taking a turn.
On your turn, you can move a distance equal to your speed
and take one action. If you have a bonus action it can be
made at any time during your turn.
Interactions are typically considered free movement, such
as retrieving a potion from your pack, or speaking brie ly.
Every creature can also make one reaction per round of
combat.
Continue taking turns until the combat encounter is resolved.
Inspiration
Inspiration is a rule the Dungeon Master can use to reward the
player for playing their character in a way that’s true to his or
her personality traits, ideal, bond, and law.
Granting Inspiration
The DM can choose to give a player inspiration for a variety of
reasons.
Typically, DMs award it when a player plays out their
personality traits, give in to the drawbacks presented by a law
or bond, and otherwise portray their character in a compelling
way.
A player either have inspiration or you don’t — it can’t
stockpile multiple “inspirations” for later use.
Using Inspiration
If a player has inspiration, they can expend it when they make
an attack roll, saving throw, or ability check.
Spending your inspiration gives you advantage on that roll.
Additionally, if they have inspiration, they can reward another
player for good roleplaying, clever thinking, or simply doing
something exciting in the game.
When another player character does something that really
contributes to the story in a fun and interesting way, the player
who has inspiration can give it up to grant the other inspiration.
Appendix B: Playing the Game
This is a slimmed down version of the Dungeons & Dragons 5th
Edition rules, in fact, there are a bunch of things left out of this
speci ically to keep you from becoming overwhelmed!
For a complete explanation of the rules refer to the Player's
Handbook.
The Character Sheet
Your Character Sheet is your interface with the gameworld, it is
a record of the Player Character's Ability Scores, Skill
Pro iciencies, Armor Class, Health, and every other detail you
will need to reference in the course of play.
The Game Dice
These polyhedral dice simulate the randomness of the real
world and dictate to varying degrees the margins of that
randomness. A reference has been included at the bottom of this
page, to help you identify which die is which.
When you need to roll dice, the rules will tell you how many
dice to roll and which ones, as well as what modi iers to add to
your roll.
For most of the exploits you attempt in the course of your
adventure, you will roll a twenty-sided die (d20) and add any
relevant bonuses to that roll to resolve the success for failure of
your attempts.
In the event that the Dungeon Master (DM) asks you to roll a
percentile dice, or d100, you will roll two d10's, the irst will
represent the tens digit and the second the ones digit.
Ability Scores
There are six abilities that measure your characters prowess:
Strength is your phyiscal power
Dexterity is your phyiscal agility
Constitution is your physical endurance
Intelligence is your mental acuity
Wisdom is your mindfullness
Charisma is your force of personality
Each ability has two numbers associated with it, the score
(which is the larger number), and the bonus (which is the
smaller number).
When you attempt to do something in the game, the DM will
as you to perform a Skill Check that requires you to roll a d20
and add the bonus dictated by your ability score.
For instance, if you attempt to swing from a chandelier, your
DM may ask you to roll a Dexterity (Acrobatics) check.
In order to do this, you will roll a d20, add any bonus from
your Dexterity score, as well as your Pro iciency Bonus if you
are Pro icient in Acrobatics.
Saving Throws
A saving throw represents an attempt to resist a spell, a trap, a
poison, a disease, or a similar threat. You don’t normally decide
to make a saving throw; you are forced to make one because
your character or monster is at risk of harm.
To make a saving throw, roll a d20 and add the appropriate
ability modi ier.
For example, you use your Dexterity modi ier for a Dexterity
saving throw.
A saving throw can be modi ied by a situational bonus or
penalty and can be affected by advantage and disadvantage, as
determined by the DM.
Each class gives pro iciency in at least two saving throws.
The wizard, for example, is pro icient in Intelligence saves. As
with skill pro iciencies, pro iciency in a saving throw lets a
character add his or her pro iciency bonus to saving throws
made using a particular ability score. Some monsters have
saving throw pro iciencies as well.
The Dif iculty Class for a saving throw is determined by the
effect that causes it. For example, the DC for a saving throw
allowed by a spell is determined by the caster’s spellcasting
ability and pro iciency bonus.
The result of a successful or failed saving throw is also
detailed in the effect that allows the save. Usually, a successful
save means that a creature suffers no harm, or reduced harm,
from an effect.
Advantage
and Disadvantage
Sometimes an ability check, attack roll, or saving throw is
modi ied by special situations called advantage and
disadvantage.
Advantage re lects the positive circumstances surrounding a
d20 roll, while disadvantage re lects the opposite.
When you have either advantage or disadvantage, you roll a
second d20 when you make the roll.
Use the higher of the two rolls if you have advantage, and use
the lower roll if you have disadvantage.
For example, if you have disadvantage and roll a 17 and a 5,
you use the 5. If you instead have advantage and roll those
numbers, you use the 17.
Phases of Play Disengage
By taking the Disengage action, you will not provoke attacks of
The game cycles through two major phases of play: Exploration
opportunity for the remainder of your turn.
and Combat.

Exploration Dodge
In taking the Dodge action, you focus the totality of your efforts
During the Exploration phase, the DM will describe a scenario,
on avoiding incoming attacks. Until the start of your next turn,
and perhaps play the role of a Non-Player Character (NPC) and
any attack made against you by an attacker you can see is made
you and your friends will roleplay your own Player Characters'
at disadvantage. Additionally, any Dexterity saving throws you
reactions and interactions. There are no discrete "turns" during
make are made with advantage.
this phase, it is an organic mode of play.
You lose this bene it if you are incapacitated, or if your speed
The Combat phase, which is inevitable in this particular game,
drops to zero.
is far more structured, and the various dynamics are explained
below.
Help
Combat When you take the Help action, you dedicate your efforts in aid
of another. The creature you are helping gains advantage on the
Dungeons & Dragons is game about combat, everything else is a
next Ability Check they make to perform the action you are
vehicle to the next encounter.
aiding it with, so long as it does so before your next turn.
Once the DM has determined the Initiative Order, and your
Alternatively, you may use the Help action to aid a friendly
turn has begun, you have a variety of options to choose how you
creature in attacking an enemy who is within 5 feet of you. If
spend your 6 seconds (that's about how long a turn in-game
your ally succeeds on their attack before your next turn, their
lasts... you as the player have a bit longer!) .
irst attack roll is made with advantage.
Your Turn
Each turn, you can move a distance equal to your speed Hide
and take one action.
If you take the Hide action, you make a Dexterity (Stealth) check
You may also take one bonus action if it is available to you, in an attempt to hide. If you succeed, you gain the bene its of
and if the opportunity arises you might interact with an being hidden.
object.
If you can't decide what to do, you can forgo moving, taking an
action, or doing anything at all. In such a case, consider taking Ready
the Dodge or Ready action. When you take the Ready action, you prepare your reaction to
Additionally, you can take one reaction per round. be used in order to execute an action when certain conditions
are met, before your next turn.
Actions in Combat First, you decide what perceivable circumstance will trigger
your reaction. Then, you choose the action you will take in
While certain classes may add to this list, the following actions response to that trigger, or you choose to move up to your speed
are available to all adventurers by default. in response to it.
Examples include “If the cultist steps on the trapdoor, I’ll pull
Attack the lever that opens it,” and “If the goblin steps next to me, I
move away.”
The Attack action is the most common action taken in combat.
When the trigger occurs, you can either take your reaction
An Attack can be anything from swinging a sword, to iring an
right after the trigger inishes or ignore the trigger. Remember
arrow, to bare knuckle boxing!
that you can take only one reaction per round.
When you take this action, you make one melee or ranged
When you ready a spell, you cast it as normal but hold its
attack.
energy, which you release with your reaction when the trigger
Certain features, such as the Fighter's Extra Attack will allow occurs. To be readied, a spell must have a casting time of 1
for a second attack when you take this action. action, and holding onto the spell’s magic requires
concentration.
Casting a Spell If your concentration is broken, the spell dissipates without
taking effect. For example, if you are concentrating on the web
If the spell has a casting time of 1 Action, it may be used when
spell and ready magic missile, your web spell ends, and if you
you take this action in combat.
take damage before you release magic missile with your
reaction, your concentration might be broken.
Dash
The Dash action allows you to take an additional movement
equal to your speed after any modi iers.
For instance, if you have a speed of 30 feet and are on Dif icult
Terrain, taking the Dash action will grant you an additional 15
feet of movement this turn.
Search
In taking the Search action, you devote your attention to inding
something. Depending on the nature of your search, the DM
might have you make a Wisdom (Perception) check or an
Intelligence (Investigation) check.
Use An Object
You normally interact with an object while doing something
else, such as when you draw a sword as part of an attack.
When an object requires your action for its use, you take the
Use an Object action.
This action is also useful when you want to interact with more
than one object on your turn.
Making an Attack
The most common of actions in Dungeons & Dragons, the Attack
action, follows a simple structure.
1. Choose a target. Pick a target within range: a creature,
object, or location.
2. Determine modifiers. The DM determines whether the
target has cover and whether you have advantage or
disadvantage against the target. In addition, spells, special
abilities, and other effects can apply penalties or bonuses to
your attack roll.
3. Resolve the attack. You make the attack roll.
On a hit, you roll damage, unless the particular attack has
rules that specify otherwise. Some attacks cause special effects
in addition to or instead of damage.
If there’s ever any question whether something you’re doing
counts as an attack, the rule is simple: if you’re making an attack
roll, you’re making an attack.
Attack Rolls
When you make an attack, your attack roll determines whether
the attack hits or misses.
To make an attack roll, roll a d20 and add the appropriate
modi iers. If the total of the roll plus modi iers equals or exceeds
the target’s Armor Class (AC), the attack hits.
The AC of a character is determined at character creation,
whereas the AC of a monster is in its stat block.
Modi iers to the Roll
When a character makes an attack roll, the two most common
modi iers to the roll are an ability modi ier and the character’s
pro iciency bonus.
When a monster makes an attack roll, it uses whatever
modi ier is provided in its stat block.
Ability Modifier. The ability modi ier used for a melee
weapon attack is Strength, and the ability modi ier used for a
ranged weapon attack is Dexterity.
Weapons that have the inesse or thrown property break this
rule. Some spells also require an attack roll. The ability modi ier
used for a spell attack depends on the spellcasting ability of the
spellcaster.
Proficiency Bonus. You add your pro iciency bonus to your
attack roll when you attack using a weapon with which you have
pro iciency, as well as when you attack with a spell.
Damage Rolls
Each weapon, spell, and harmful monster ability speci ies the
damage it deals. You roll the damage die or dice, add any
modi iers, and apply the damage to your target.
Magic weapons, special abilities, and other factors can grant a
bonus to damage.
When attacking with a weapon, you add your ability modi ier
— the same modi ier used for the attack roll — to the damage.
A spell tells you which dice to roll for damage and whether to
add any modi iers.
If a spell or other effect deals damage to more than one target
at the same time, roll the damage once for all of them.
Critical Hits
If the d20 roll for an attack is a 20, the attack hits regardless of
any modi iers or the target’s AC. This is called a critical hit!.
When you score a critical hit, also known as rolling a Natural
20, you get to roll extra dice for the attack’s damage against the
target.
Roll all of the attack’s damage dice twice and add them
together. Then add any relevant modi iers as normal. To speed
up play, you can roll all the damage dice at once.
For example, if you score a critical hit with a dagger, roll 2d4
for the damage, rather than 1d4, and then add your relevant
ability modi ier.
If the attack involves other damage dice, such as from the
rogue’s Sneak Attack feature, you roll those dice twice as well.
Ranged Attacks
When you make a ranged attack, you ire a bow or a crossbow,
hurl a handaxe, or otherwise send projectiles to strike a foe at a
distance. Many spells also involve making a ranged attack.
Range
You can make ranged attacks only against targets within a
speci ied range.
If a ranged attack, such as one made with a spell, has a single
range, you can’t attack a target beyond this range.
Some ranged attacks, such as those made with a longbow or a
shortbow, have two ranges. The smaller number is the normal
range, and the larger number is the long range.
Your attack roll has disadvantage when your target is beyond
normal range, and you can’t attack a target beyond the long
range.
Ranged Attacks in Close Combat
Aiming a ranged attack is more dif icult when a foe is next to
you.
When you make a ranged attack with a weapon, a spell, or
some other means, you have disadvantage on the attack roll if
you are within 5 feet of a hostile creature who can see you and
who isn’t incapacitated.

Melee Attacks
Used in hand-to-hand combat, a melee attack allows you to
attack a foe within your reach.
A melee attack typically uses a handheld weapon such as a
sword, a warhammer, or an axe. A typical monster makes a
melee attack when it strikes with its claws, horns, teeth,
tentacles, or other body part. A few spells also involve making a
melee attack.
Most creatures have a 5-foot reach and can thus attack
targets within 5 feet of them when making a melee attack.
Certain creatures (typically those with a size larger than
Medium) have melee attacks with a greater reach than 5 feet, as
noted in their descriptions.
Instead of using a weapon to make a melee weapon attack,
you can use an unarmed strike: a punch, kick, head-butt, or
similar forceful blow (none of which count as weapons).
On a hit, an unarmed strike deals bludgeoning damage equal
to 1 + your Strength modi ier.
You are pro icient with your unarmed strikes.
Opportunity Attacks
In a ight, everyone is constantly watching for enemies to drop
their guard. You can rarely move heedlessly past your foes
without putting yourself in danger; doing so provokes an
opportunity attack.
You can make an opportunity attack when a hostile creature
that you can see moves out of your reach. To make the
opportunity attack, you use your reaction to make one melee
attack against the provoking creature.
The attack occurs right before the creature leaves your reach.
You can avoid provoking an opportunity attack by taking the
Disengage action.
You also don’t provoke an opportunity attack when you
teleport or when someone or something moves you without
using your movement, action, or reaction.
For example, you don’t provoke an opportunity attack if an
explosion hurls you out of a foe’s reach or if gravity causes you
to fall past an enemy.
Two-Weapon Fighting
When you take the Attack action and attack with a light melee
weapon that you’re holding in one hand, you can use a bonus
action to attack with a different light melee weapon that you’re
holding in the other hand.
You don’t add your ability modi ier to the damage of the
bonus attack, unless that modi ier is negative.
If either weapon has the thrown property, you can throw the
weapon, instead of making a melee attack with it.
Unseen Attackers
Combatants often try to escapthe location you targeted, you
automatically miss. When a creature can’t see you, you have
advantage on attack rolls against it.e their foes’ notice by hiding,
casting the invisibility spell, or lurking in darkness.
When you attack a target that you can’t see, you have
disadvantage on the attack roll.
This is true whether you’re guessing the target’s location or
you’re targeting a creature you can hear but not see.
If the target isn’t in
If you are hidden — both unseen and unheard — when you
make an attack, you give away your location when the attack
hits or misses.
Grappling
When you want to grab a creature or wrestle with it, you can use
the Attack action to make a special melee attack, a grapple.
If you’re able to make multiple attacks with the Attack action,
this attack replaces one of them.
The target of your grapple must be no more than one size
larger than you, and it must be within your reach.
Using at least one free hand, you try to seize the target by
making a grapple check, a Strength (Athletics) check contested
by the target’s Strength (Athletics) or Dexterity (Acrobatics)
check (the target chooses the ability to use).
If you succeed, you subject the target to the grappled
condition. The condition speci ies the things that end it, and you
can release the target whenever you like (no action required).
Escaping a Grapple. A grappled creature can use its action
to escape. To do so, it must succeed on a Strength (Athletics) or
Dexterity (Acrobatics) check contested by your Strength
(Athletics) check.
Moving a Grappled Creature. When you move, you can
drag or carry the grappled creature with you, but your speed is
halved, unless the creature is two or more sizes smaller than
you.
Shoving a Creature
Using the Attack action, you can make a special melee attack to
shove a creature, either to knock it prone or push it away from
you. If you’re able to make multiple attacks with the Attack
action, this attack replaces one of them.
The target of your shove must be no more than one size larger
than you, and it must be within your reach.
You make a Strength (Athletics) check contested by the
target’s Strength (Athletics) or Dexterity (Acrobatics) check (the
target chooses the ability to use).
If you win the contest, you either knock the target prone or
push it 5 feet away from you.
Grappled
A grappled creature’s speed becomes 0, and it can’t
benefit from any bonus to its speed.
The condi on ends if the grappler is incapacitated.
The condi on also ends if an effect removes the
grappled creature from the reach of the grappler or
grappling effect.
Prone
A prone creature’s only movement op on is to
crawl.
The creature has disadvantage on a ack rolls.
An a ack roll against the creature has advantage if
the a acker is within 5 feet. Otherwise, the a ack
roll has disadvantage
Incapacitated
An incapacitated creature can’t take ac ons or
reac ons.

Spellcasting
Magic permeats the multiverse of Dungeons & Dragons, most
often in the form of spellcasting.
Spell Level
Every spell has a level from 0 to 9. A spell’s level is a general
indicator of how powerful it is, with the lowly magic missile at
1st level and the incredible time stop at 9th.
Cantrips — simple but powerful spells that characters can
cast almost by rote — are level 0.
The higher a spell’s level, the higher level a spellcaster must
be to use that spell.
Spell level and character level don’t correspond directly.
Typically, a character has to be at least 17th level, not 9th level,
to cast a 9th-level spell.
Known and Prepared Spells
Before a spellcaster can use a spell, he or she must have the spell
irmly ixed in mind, or must have access to the spell in a magic
item.
Members of a few classes have a limited list of spells they
know that are always ixed in mind. The same thing is true of
many magicusing monsters.
Other spellcasters, such as clerics and wizards, undergo a
process of preparing spells.
This process varies for different classes, as detailed in their
descriptions.
In every case, the number of spells a caster can have ixed in
mind at any given time depends on the character’s level.
Spell Slots
Regardless of how many spells a caster knows or prepares, he or
she can cast only a limited number of spells before resting.
Manipulating the fabric of magic and channeling its energy
into even a simple spell is physically and mentally taxing, and
higher-level spells are even more so. Thus, each spellcasting
class’s description includes a table showing how many spell
slots of each spell level a character can use at each character
level.
For example, a 3rd-level wizard has four 1st-level spell slots
and two 2nd-level slots.
When a character casts a spell, he or she expends a slot of that
spell’s level or higher, effectively “ illing” a slot with the spell.
You can think of a spell slot as a groove of a certain size — small
for a 1st-level slot, larger for a spell of higher level. A 1st-level
spell its into a slot of any size, but a 9th-level spell its only in a
9th-level slot. So when Umara casts magic missile, a 1st-level
spell, she spends one of her four 1st-level slots and has three
remaining.
Finishing a long rest restores any expended spell slots.
Some characters and monsters have special abilities that let
them cast spells without using spell slots.
Casting a Spell at a Higher Level
When a spellcaster casts a spell using a slot that is of a higher
level than the spell, the spell assumes the higher level for that
casting. For instance, if Umara casts magic missile using one of
her 2nd-level slots, that magic missile is 2nd level.
Some spells, such as magic missile and cure wounds, have
more powerful effects when cast at a higher level, as detailed in
a spell’s description.
Cantrips
A cantrip is a level 0 spell that can be cast at will, without using
a spell slot and without being prepared in advance.
Rituals
Certain spells have a special tag: ritual.
Such a spell can be cast following the normal rules for
spellcasting, or the spell can be cast as a ritual. The ritual
version of a spell takes 10 minutes longer to cast than normal.
It also doesn’t expend a spell slot, which means the ritual
version of a spell can’t be cast at a higher level.
To cast a spell as a ritual, a spellcaster must have a feature
that grants the ability to do so.
The caster must also have the spell prepared or on his or her
list of spells known, unless the character’s ritual feature
speci ies otherwise, as the wizard’s does.
Casting a Spell
When a character casts any spell, the same basic rules are
followed, regardless of the character’s class or the spell’s effects.
Each spell description begins with a block of information,
including the spell’s name, level, school of magic, casting time,
range, components, and duration.
The rest of a spell entry describes the spell’s effect.
Casting Time
Most spells require a single action to cast, but some spells
require a bonus action, a reaction, or much more time to cast.
Bonus Action
A spell cast with a bonus action is especially swift.
You must use a bonus action on your turn to cast the spell,
provided that you haven’t already taken a bonus action this turn.
You can’t cast another spell during the same turn, except for a
cantrip with a casting time of 1 action.
Reactions
Some spells can be cast as reactions.
These spells take a fraction of a second to bring about and are
cast in response to some event.
If a spell can be cast as a reaction, the spell description tells
you exactly when you can do so.
Longer Casting Times
Certain spells require more time to cast: minutes or even hours.
When you cast a spell with a casting time longer than a single
action or reaction, you must spend your action each turn casting
the spell, and you must maintain your concentration while you
do so.
If your concentration is broken, the spell fails, but you don’t
expend a spell slot.
If you want to try casting the spell again, you must start over.

Range
The target of a spell must be within the spell’s range.
For a spell like magic missile, the target is a creature. For a
spell like ireball, the target is the point in space where the ball
of ire erupts.
Most spells have ranges expressed in feet. Some spells can
target only a creature (including you) that you touch.
Other spells, such as the shield spell, affect only you.
These spells have a range of self.
Spells that create cones or lines of effect that originate from
you also have a range of self, indicating that the origin point of
the spell’s effect must be you.
Once a spell is cast, its effects aren’t limited by its range,
unless the spell’s description says otherwise.
Components
A spell’s components are the physical requirements you must
meet in order to cast it.
Each spell’s description indicates whether it requires verbal
(V), somatic (S), or material (M) components.
If you can’t provide one or more of a spell’s components, you
are unable to cast the spell.
Verbal (V)
Most spells require the chanting of mystic words. The words
themselves aren’t the source of the spell’s power; rather, the
particular combination of sounds, with speci ic pitch and
resonance, sets the threads of magic in motion.
Thus, a character who is gagged or in an area of silence, such
as one created by the silence spell, can’t cast a spell with a
verbal component.
Somatic (S)
Spellcasting gestures might include a forceful gesticulation or an
intricate set of gestures. If a spell requires a somatic component,
the caster must have free use of at least one hand to perform
these gestures.
Material (M)
Casting some spells requires particular objects, speci ied in
parentheses in the component entry. A character can use a
component pouch or a spellcasting focus in place of the
components speci ied for a spell.
But if a cost is indicated for a component, a character must
have that speci ic component before he or she can cast the spell.
If a spell states that a material component is consumed by the
spell, the caster must provide this component for each casting of
the spell.
A spellcaster must have a hand free to access these
components — or to hold a spellcasting focus — but it can be
the same hand that he or she uses to perform somatic
components.
Duration
A spell’s duration is the length of time the spell persists.
A duration can be expressed in rounds, minutes, hours, or
even years. Some spells specify that their effects last until the
spells are dispelled or destroyed.
Instantaneous
Many spells are instantaneous. The spell harms, heals, creates,
or alters a creature or an object in a way that can’t be dispelled,
because its magic exists only for an instant.
Concentration
Some spells require you to maintain concentration in order to
keep their magic active. If you lose concentration, such a spell
ends.
If a spell must be maintained with concentration, that fact
appears in its Duration entry, and the spell speci ies how long
you can concentrate on it.
You can end concentration at any time (no action required).
Normal activity, such as moving and attacking, doesn’t
interfere with concentration.
The following factors can break concentration:
Casting another spell that requires concentration. You lose
concentration on a spell if you cast another spell that
requires concentration. You can’t concentrate on two spells
at once.
Taking damage. Whenever you take damage while you are
concentrating on a spell, you must make a Constitution
saving throw to maintain your concentration. The DC equals
10 or half the damage you take, whichever number is higher.
If you take damage from multiple sources, such as an arrow
and a dragon’s breath, you make a separate saving throw for
each source of damage.
Being incapacitated or killed. You lose concentration on a
spell if you are incapacitated or if you die.
The DM might also decide that certain environmental
phenomena, such as a wave crashing over you while you’re on a
storm-tossed ship, require you to succeed on a DC 10
Constitution saving throw to maintain concentration on a spell.
Targets
A typical spell requires you to pick one or more targets to be
affected by the spell’s magic. A spell’s description tells you
whether the spell targets creatures, objects, or a point of origin
for an area of effect (described below).
Unless a spell has a perceptible effect, a creature might not
know it was targeted by a spell at all. An effect like crackling
lightning is obvious, but a more subtle effect, such as an attempt
to read a creature’s thoughts, typically goes unnoticed, unless a
spell says otherwise.
A Clear Path to the Target
To target something, you must have a clear path to it, so it can’t
be behind total cover. If you place an area of effect at a point that
you can’t see and an obstruction, such as a wall, is between you
and that point, the point of origin comes into being on the near
side of that obstruction.
Targeting Yourself
If a spell targets a creature of your choice, you can choose
yourself, unless the creature must be hostile or speci ically a
creature other than you. If you are in the area of effect of a spell
you cast, you can target yourself.
Areas of Effect
Spells such as burning hands and cone of cold cover an area,
allowing them to affect multiple creatures at once.
A spell’s description speci ies its area of effect, which typically
has one of ive different shapes: cone, cube, cylinder, line, or
sphere. Every area of effect has a point of origin, a location from
which the spell’s energy erupts.
The rules for each shape specify how you position its point of
origin.
Typically, a point of origin is a point in space, but some spells
have an area whose origin is a creature or an object.
A spell’s effect expands in straight lines from the point of
origin. If no unblocked straight line extends from the point of
origin to a location within the area of effect, that location isn’t
included in the spell’s area. To block one of these imaginary
lines, an obstruction must provide total cover.
Cone
A cone extends in a direction you choose from its point of origin.
A cone’s width at a given point along its length is equal to that
point’s distance from the point of origin. A cone’s area of effect
speci ies its maximum length.
A cone’s point of origin is not included in the cone’s area of
effect, unless you decide otherwise.
Saving Throws
Many spells specify that a target can make a saving throw to
avoid some or all of a spell’s effects. The spell speci ies the
ability that the target uses for the save and what happens on a
success or failure.
The DC to resist one of your spells equals 8 + your
spellcasting ability modi ier + your pro iciency bonus + any
special modi iers.
Attack Rolls
Some spells require the caster to make an attack roll to
determine whether the spell effect hits the intended target. Your
attack bonus with a spell attack equals your spellcasting ability
modi ier + your pro iciency bonus.
Most spells that require attack rolls involve ranged attacks.
Remember that you have disadvantage on a ranged attack roll if
you are within 5 feet of a hostile creature that can see you and
that isn’t incapacitated.
Spellcasting Focus
The different spellcasting classes use a variety of objects as their
focuses.

Cube Arcane Focus

You select a cube’s point of origin, which lies anywhere on a face An arcane focus is a special item — an orb, a crystal, a rod, a
of the cubic effect. The cube’s size is expressed as the length of specially constructed staff, a wandlike length of wood, or some
each side. similar item—designed to channel the power of arcane spells.
A cube’s point of origin is not included in the cube’s area of
effect, unless you decide otherwise.
Druidic Focus
A druidic focus might be a sprig of mistletoe or holly, a wand or
scepter made of yew or another special wood, a staff drawn
Cylinder whole out of a living tree, or a totem object incorporating
A cylinder’s point of origin is the center of a circle of a particular
feathers, fur, bones, and teeth from sacred animals.
radius, as given in the spell description. The circle must either
be on the ground or at the height of the spell effect. The energy
in a cylinder expands in straight lines from the point of origin to
Holy Symbol
A holy symbol is a representation of a god or pantheon. It might
the perimeter of the circle, forming the base of the cylinder. The
be an amulet depicting a symbol representing a deity, the same
spell’s effect then shoots up from the base or down from the top,
symbol carefully engraved or inlaid as an emblem on a shield, or
to a distance equal to the height of the cylinder.
a tiny box holding a fragment of a sacred relic.
A cylinder’s point of origin is included in the cylinder’s area of
The Player’s Handbook lists many gods in the multiverse and
effect.
their typical symbols. A cleric or paladin can use a holy symbol
as a spellcasting focus.
Line
To use the symbol in this way, the caster must hold it in hand,
A line extends from its point of origin in a straight path up to its
wear it visibly, or bear it on a shield.
length and covers an area de ined by its width. A line’s point of
origin is not included in the line’s area of effect, unless you
decide otherwise.

Sphere
You select a sphere’s point of origin, and the sphere extends
outward from that point. The sphere’s size is expressed as a
radius in feet that extends from the point.
A sphere’s point of origin is included in the sphere’s area of
effect.
Resting
Heroic though they might be, adventurers can’t spend every
hour of the day in the thick of exploration, social interaction, and
combat. They need rest—time to sleep and eat, tend their
wounds, refresh their minds and spirits for spellcasting, and
brace themselves for further adventure. Adventurers can take
short rests in the midst of an adventuring day and a long rest to
end the day.
Short Rest
A short rest is a period of downtime, at least 1 hour long, during
which a character does nothing more strenuous than eating,
drinking, reading, and tending to wounds.
A character can spend one or more Hit Dice at the end of a
short rest, up to the character’s maximum number of Hit Dice,
which is equal to the character’s level. For each Hit Die spent in
this way, the player rolls the die and adds the character’s
Constitution modi ier to it. The character regains hit points
equal to the total. The player can decide to spend an additional
Hit Die after each roll.
A character regains some spent Hit Dice upon inishing a long
rest, as explained below.
Long Rest
A long rest is a period of extended downtime, at least 8 hours
long, during which a character sleeps or performs light activity:
reading, talking, eating, or standing watch for no more than 2
hours.
If the rest is interrupted by a period of strenuous activity—at
least 1 hour of walking, ighting, casting spells, or similar
adventuring activity — the characters must begin the rest again
to gain any bene it from it.
At the end of a long rest, a character regains all lost hit points.
The character also regains spent Hit Dice, up to a number of
dice equal to half of the character’s total number of them
(minimum of one die). For example, if a character has eight Hit
Dice, he or she can regain four spent Hit Dice upon inishing a
long rest.
A character can’t bene it from more than one long rest in a 24-
hour period, and a character must have at least 1 hit point at the
start of the rest to gain its bene its.
Healing
Unless it results in death, damage isn’t permanent. Even death is
reversible through powerful magic.
Rest can restore a creature’s hit points, and magical methods
such as a cure wounds spell or a potion of healing can remove
damage in an instant.
When a creature receives healing of any kind, hit points
regained are added to its current hit points. A creature’s hit
points can’t exceed its hit point maximum, so any hit points
regained in excess of this number are lost.
For example, a druid grants a ranger 8 hit points of healing.
If the ranger has 14 current hit points and has a hit point
maximum of 20, the ranger regains 6 hit points from the druid,
not 8.
A creature that has died can’t regain hit points until magic
such as the revivify spell has restored it to life.
Dropping to Zero Hit Points
When you drop to 0 hit points, you either die outright or fall
unconscious, as explained in the following sections.
Instant Death
Massive damage can kill you instantly.
When damage reduces you to 0 hit points and there is damage
remaining, you die if the remaining damage equals or exceeds
your hit point maximum.
For example, a cleric with a maximum of 12 hit points
currently has 6 hit points. If she takes 18 damage from an attack,
she is reduced to 0 hit points, but 12 damage remains. Because
the remaining damage equals her hit point maximum, the cleric
dies.
Falling Unconscious
If damage reduces you to 0 hit points and fails to kill you, you
fall unconscious.
This unconsciousness ends if you regain any hit points.
Death Saving Throws
Whenever you start your turn with 0 hit points, you must make
a special saving throw, called a death saving throw, to determine
whether you creep closer to death or hang onto life. Unlike other
saving throws, this one isn’t tied to any ability score. You are in
the hands of fate now, aided only by spells and features that
improve your chances of succeeding on a saving throw.
Roll a d20. If the roll is 10 or higher, you succeed.
Otherwise, you fail. A success or failure has no effect by itself.
On your third success, you become stable (see below). On your
third failure, you die. The successes and failures don’t need to be
consecutive; keep track of both until you collect three of a kind.
The number of both is reset to zero when you regain any hit
points or become stable.
Rolling 1 or 20. When you make a death saving throw and
roll a 1 on the d20, it counts as two failures. If you roll a 20 on
the d20, you regain 1 hit point.
Damage at 0 Hit Points. If you take any damage while you
have 0 hit points, you suffer a death saving throw failure. If the
damage is from a critical hit, you suffer two failures instead. If
the damage equals or exceeds your hit point maximum, you
suffer instant death.
Stabilizing a Creature
The best way to save a creature with 0 hit points is to heal it. If
healing is unavailable, the creature can at least be stabilized so
that it isn’t killed by a failed death saving throw.
You can use your action to administer irst aid to an
unconscious creature and attempt to stabilize it, which requires
a successful DC 10 Wisdom (Medicine) check.
A stable creature doesn’t make death saving throws, even
though it has 0 hit points, but it does remain unconscious.
The creature stops being stable, and must start making death
saving throws again, if it takes any damage.
A stable creature that isn’t healed regains 1 hit point after 1d4
hours.
Monsters and Death
Most DMs have a monster die the instant it drops to 0 hit points,
rather than having it fall unconscious and make death saving
throws. Some villains and NPCs are common exceptions.
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