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ON THE COVER

Tyler jacobson illustrates the arch lich Acerera k
as he raises an army of undead and prepares to
unleash it on an unsuspecting wo rld .

620A921900000l EN CE
ISBN: 978-0-7869-6562-5
First Printing: December 2014

987654321

Disclaimer: Wizards ofthe Coast does not officially endorse the following u;c:-·c:s. ,..,. cr. are gJarorue.td to maximize your enj oyment as a Dungeon Master. First, always keep a straight f ace and

say OK no matter how ludicrous or doomed the pla yers' plan ofaction is. Suo,. a ra tr.a:-~r .......a: happens, pretend that yo u intended all alongfo r everything to unfold the way it did. Third, if

you're not sure what to do next, feign if/ness, end the session early, and plor yo;.~r- rt.r: rr.o..~. ,.er. a/ else fails, roll a bunch ofdice behind your screen, study them fo r a moment with a look of
de ep concern mixed with regret, let loose a heavy sigh, and announce that T10rra: ~frorP:" =~e s and attacks.

DUN G EO NS & DRAGO NS , 0&0 , Wizards of the Coas t, Forgotten Rea lms. rr~ ::7~,... ... =-- ~"'0~ Poyer's Handbook , Monster Ma nual, Dungeon Moster's Guide, al l othe r Wiza rds of
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CONTENTS

INTRODUCTION 4 Unusual Environments .............................................. 116
Traps.............................................................................. 120
The Dungeon Master....................................................... 4
How to Use This Book....................................................4 CHAPTER 6: BETWEEN ADVENTURES .... .. ...... 125
Know Your Players ........................................................... 6
Linking Adventures .................................................... 125
PARTl 7 Campaign Tracking..................................................... 126
Recurring Expenses ................................................... 126
CHAPTER 1: A WORLD OF YOUR OWN .. ...... ........ 9 Downtime Activities ................................................... 127

The Big Picture................................................................. 9 CHAPTER 7: TREASURE ................................ .. .... .. . 133
Gods of Your World ........................................................ 10
Mapping Your Campaign............................................... 14 Types of Treasure ....................................................... 133
Settlements .....................................................................15 Random Treasure ....................................................... 133
Languages and Dialects............................................... 20 Magic Items.................................................................. 135
Factions and Organizations .........................................21 Sentient Magic Items ................................................. 214
Magic in Your World ..................................................... 23 Artifacts......................................................................... 219
Creating a Campaign ................................................... 25 Other Rewards ............................................................ 227
Campaign Events .......................................................... 26
Play Style ........................................................................ 34 PART3 233
Tiers of Play.................................................................... 36
Flavors of Fantasy ...........................:............................ 38 CHAPTER 8: RUNNING THE GAME ..... .. .......... 235

CHAPTER 2: CREATING A MULTIVERSE .. .. ..... 43 Table Rules ................................................................... 235
The Role of Dice .......................................................... 236
The Planes ..................................................................... 43 Using Ability Scores .................................................. 237
Planar Travel ................................................................. 44 Exploration ................................................................... 242
Astral Plane ........................................:.......................... 46 Social Interaction ....................................................... 244
Ethereal Plane ............................................................... 48 Objects........................................................................... 246
Feywild ....:....................................................................... 49 Combat .......................................................................... 247
Shadowfe ll..... ................................................. ... .. ..'.......... 51 Chases ........................................................................... 252
Inner P lanes....................................................................52 Siege Equipment.............................................,........... 255
Outer P lanes .................................................................. 57 Diseases ........................................................................ 256
Other Planes .................................................................. 67 Poisons .......................................................................... 257
Known Worlds of the Material Plane ....................... 68 Madness ........................................................................ 258
Experience Points....................................................... 260
PART2 69
CHAPTER 9: DuNGEON MASTER' s
CHAPTER 3: CREATING ADVENTURES ............ 71
WORKSHOP ...................................... ............... ..... ........ 263
Elements of a Great Adventure ..................................71
Published Adventures .................................................. 72 Ability Options............................................................. 263
Adventure Structure .................................................... 72 Adventuring Options..................................................266
Adventure Types ........................................................... 72 Combat Options .......................................................... 270
Complications ................................................................ 79 Creating a Monster ..................................................... 273
Creating Encounters .....................................................81 Creating a Spell........................................................... 283
Random Encounters .................................................... 85 Creating a Magic Item ............................................... 284
Creating New Character Options............................ 285
CHAPTER 4 : CREATING NONPLAYER
APPENDIXA: RANDOM DUNGEONS 290
CHARACTERS ................................. ..... ..... ................. .... 89
Designing NPCs ........................................................... 89 Starting Area ............................................................... 290
NPC Party Members.................................................... 92 Passages ....................................................................... 290
Contacts .......................................................................... 93 Doors ............................................................................. 291
Hirelings ......................................................................... 94 Chambers ..................................................................... 291
Extras .............................................................................. 94 Stairs ............................................................................. 291
Villains ............................................................................ 94 Connecting Areas ....................................................... 292
Villainous Class Options ............................................. 96 Stocking a Dungeon................................................... 292

CHAPTER 5: ADVENTURE ENVIRONMENTS .. . 99 APPENDIX B: MONSTER LISTS 302

Dungeons ........................................................................ 99 APPENDIX C: MA-P-S------------------3-1-0
Mapping a Dungeon ................................................... 102
Wilderness .................................................................... 106 APPENDIX D: DUNGEON
Mapping a Wilderness ............................................... 108
Wilderness Survival ................................................... 109 MASTER INSPIRA-T-I-O-N-------------3-1-6
Settlements .................................................................. 112 INDE-X---------------------------3-1-7
Mapping a Settlement.................................................114
Urban Encounters..............:......................................... 114

INTRODUCTION How TO UsE THIS BooK

T 'S GOOD TO BE THE DU NGEON MASTER! NOT ONLY This book is orga nized in three parts. The first part
helps you decide what kind of campaign you'd like to
d? y~u get to tell fantastic stories about heroes, run. The s econd part helps you create the adventures-
the stor ies-that will compose the campaign and
rv1llams, monsters, and magic, but you also get keep the players entertained from one game session
to create the world in which these stories live. to the next. The last part helps you adjudicate the
Whether you're running a D&D game already rules of the game and modify them to suit the style of
or you think it's something you want to try, this your campa ign.
book is for you.
The Dungeon Master's Guide assumes that you know PART 1: MASTER OF WORLDS
the basics of how to play the D&D tabletop roleplaying
game. If you haven't played before, the DuNGEONS f!f> Every DM is the creator of his or her own campaign
DRAGONS Starter Set is a great starting point for new world. Whether you invent a world, adapt a world from
players and DMs. a favorite movie or novel, or use a published setting for
This book has two important companions: the Player's the D&D game, you make that world your own over the
Handbook, which contains the rules your players need course of a campaign.
to create characters and the rules you need to run the
game, and the Monster Manual, which contains ready-to- The world where you set your campaign is one of
use monsters to populate your D&D world. countless worlds that make up the D&D multiverse,
a vast array of planes and worlds where adventures
THE DUNGEON MASTER happen. Even if you're using an established world such
as the Forgotten Realms, your campaign takes place
The Dungeon Master (DM) is the creative force in a sort of mirror universe of the official setting where
behind a D&D game. The DM creates a world for the Forgotten Realms novels, game products, and digital
other players to explore, and also creates and runs games are assumed to take place. The world is yours to
adventures that drive the story. An adventure typically change as you see fit and yours to modify as you explore
hinges on the successful completion of a quest, and the consequences of the players' actions.
can be as short as a single game session. Longer
adventures might embroil players in great conflicts that Your world is more than just a backdrop for
require multiple game sessions to resolve. When strung adventures. Like Middle Earth, Westeros, and countless
together, these adventures form an ongoing campaign. other fantasy worlds out there, it's a place to which you
A D&D campaign can include dozens of adventures and can escape and witness fantastic stories unfold. A well-
last for months or years. designed and well-run world seems to flow around the
adventurers, so that they feel part of something, instead
A Dungeon Master gets to wear many hats. As the of apartfrom it.
architect of a campaign , the DM creates adventures
by placing monsters, traps, and treasures for the other Consistency is a key to a believable fictional
players' characters (the adventurers) to discover. As world. When the adventurers go back into town for
a storyteller, the DM helps the other players visualize supplies, they should encounter the same nonplayer
what's happening around them, improvising when the characters.(NPCs) they met before. Soon, they'll learn
adventurers do something or go somewhere unexpected. the barkeep's name, and he or she will remember
As an actor, the DM plays the roles of the monsters and theirs as well. Once you have achieved this degree of
supporting characters, breathing life into them. And as a consistency, you can provide an occasional change. If
referee, the DM interprets the rules and decides when to the adventurers come back to buy more horses at the
abide by them and when to change them. stables, they might discover that the man who ran the
place went back home to the large city over the hills,
Inventing, writing, storytelling, improvising, acting, and now his niece runs the family business. That sort of ·
refereeing-every DM handles these roles differently, change- one that has nothing to do with the adventurers
and you'll probably enjoy some more than others. It directly, but one that they'll notice- makes the players
helps to remember that DUNGEONS & DRAGONS is a feel as though their characters are part of a living world
hobby, and being the DM should be fun. Focus .on the that changes and grows along with them.
aspects you enjoy and downplay the rest. For example, if
you don't like creating your own adventures, you can use Part 1 of this book is all about inventing your world.
published ones. You can also lean on the other players Chapter 1 asks what type of game you want to run, and
to help you with rules mastery and world-building. helps you nail down a few important details about your
world and its overarching conflicts. Chapter 2 helps you
The D&D rules help you and the other players have put your world in the greater context of the multiverse,
a good time, but the rules aren't in charge. You're the expanding on the information presented in the Player's
DM, and you are in charge of the game. That said , your Handbook to discuss the planes of existence and the
goal isn't to slaughter the adventurers but to create a gods and how you can put them together to serve the
campaign world that revolves around their actions and needs of your campaign.
decisions, and to keep your players coming back for
more! If you're lucky, the events of your campaign will
echo in the memories of your players long after the final
game session is concluded.

INTRODUCTION
4

PART 2: MASTER OF ADVENTURES example, a player might want his or her character to
hurl a brazier full of hot coals into a monster's face.
Whether you write your own adventures or use How you determine the outcome of this action is up to
published ones, expect to invest preparation time you. You might tell the player to make a Strength check,
beyond the hours you spend at the gaming table. You'll while mentally setting the Difficulty Class (DC) at 15.
need to carve out some free time to exercise your If the Strength check is successful, you then determine
creativity as you invent compelling plots, create new how a face full of hot coals affects the monster. You
NPCs, craft encounters, and think of clever ways to might decide that it deals ld4 fire damage and imposes
foreshadow story events yet to come. disadvantage on the monster's attack rolls until the end
of its next turn. You roll the damage die (or let the player
Part 2 of this book is devoted to helping you create do it), and the game continues.
and run great adventures. Chapter 3 covers the basic
elements of a D&D adventure, and chapter 4 helps you Sometimes mediating the rules means setting limits.
create memorable NPCs. Chapter 5 presents guidelines If a player tells you, "I want to run up and attack the
and advice for running adventures set in dungeons, ore," but the character doesn't have enough movement
the wilderness, and other locales, and chapter 6 covers to reach the ore, you say, "It's too far away to move up
the time between adventures. Chapter 7 is all about and still attack. What would you like to do instead?"
treasure, magic items, and special rewards that help The player takes the information and comes up with a
keep the players invested in your campaign. different plan.

PART 3: MASTER OF RULES To referee the rules, you need to know them. You don't
have to memorize this book or the Player's Handbook,
DUNGEONS & DRAGONS isn't a head-to-head competition, but you should have a clear idea of their contents so that,
when a situation requires a ruling, you know where to
but it needs someone who is impartial yet involved in the find the proper reference.

game to guarantee that everyone at the table plays by the The Player's Handbook contains the main rules you
need to play the game. Part 3 of this book offers a wealth
rules. As the player who creates the game world and the of information to help you adjudicate the rules in a wide
variety of situations. Chapter 8 presents advice for using
adventures that take place within it, the DM is a natural attack rolls, ability checks, and saving throws. It also
includes options appropriate for certain play styles and
fit to take on the referee role. · campaigns, including guidelines for using miniatures,
a system for handling chase scenes, and rules for
As a referee, the DM acts as a mediator between the madness. If you like to create your own stuff, such
as new monsters, races, and character backgrounds,
rules and the players. A player tells the DM what he or chapter 9 shows you how. That chapter also contains
optional rules for unusual situations or play styles, such
she wants to do, and the DM determines whether it is as the use of firearms in a fantasy setting.

successful or not, in some cases asking the player to

make a die roll to determine success. For example, if a

player wants his or her character to take a swing at an

ore, you say, "Make an attack roll" while looking up the

ore's Armor Class.

The rules don't account for every possible situation

that might arise during a typical D&D session. For

INTRODUCTION 5

KNow YouR PLAYERS FIGHTING

The success of a D&D game hinges on you r ability to P layers who enjoy fantasy combat like kicking the
entertain the other players at the game table. Whereas ta r out of villains and monsters. They look for any
their role is to create characters (the protagonists of excuse to start a fight, favoring bold action over careful
the campaign), breathe life into them , and help steer delib e r a t io n.
the campaign through their characters' actions, your
role is to keep the players (and yourself) interested and Engage players who like fighting by ...
immersed in the world you've created , and to let their • springing unexpected combat encounters on them.
characters do awesome things.
vividly describing the havoc their characters wreak
Knowing what your players enjoy most about the with their attacks and spells.
D&D game helps you create and run adventures that including combat encounters with large numbers of
they will enjoy and remember. Once you know which of weak monsters.
the following activities each player in your group enjoys • interrupting social interaction and exploration
the most, you can tailor adventures that satisfy your with combat.
players' preferences as much as possible, thus keeping
them engaged. OPTIMIZING

ACTING Players who enjoy optimizing their characters'
capabilities like to fine-tune their characters for peak
Players who enjoy acting like getting into character combat performance by gaining levels, new features,
and speaking in their characters' voices. Roleplayers and magic items. They welcome any opportunity to
at heart, they enjoy social interactions with NPCs, demonstrate their characters' superiority.
monsters, and their fellow party members.
Engage players who like optimization by ...
Engage players who like acting by ... ensuring steady access to new abilities and spells.
giving them opportunities to develop their characters'
personalities and backgrounds. • using desired magic items as adventure hooks.
including encounters that let their characters shine.
• allowing them to interact regularly with NPCs. providing quantifiable rewards, like experience points,
adding roleplaying elements to combat encounters. for noncombat encounters.
incorporating elements from their characters' back-
grounds into your adventures. PROBLEM SOLVING

ExPLORING Players who want to solve problems like to scrutinize
NPC motivations, untangle a villain's machinations,
Players who desire exploration want to experience the solve puzzles, and come up with plans.
wonders that a fantasy world has to offer. They want to
know what's around the next corner or hill. They also Engage players who like to solve problems by ...
like to find hidden clues and treasure. • including encounters that emphasize problem-solving.

Engage players who like exploration by ... rewarding planning and tactics with in-game benefits.
dropping clues that hint at things yet to come. • occasionally allowing a smart plan to grant an easy
letting them find things when they take the time
to explore. win for the players.
providing rich descriptions of exciting environments, creating NPCs with complex motives.
and using interesting maps and props.
STORYTELLING
• giving monsters secrets to uncover or cultural
details to learn. Players who love storytelling want to contribute to a
narrative. They like it when their characters are heavily
INSTIGATING invested in an unfolding story, and they enjoy encounters
that are tied to and expand an overarching plot.
Player's who like to instigate action are eager to make
things happen, even if that means taking perilqus risks. Engage players who like storytelling by ...
They would rather rush headlong into danger and face using their characters' backgrounds to help shape the
the consequences than face boredom. stories of the campaign.

Engage players who like to instigate by ... • making sure an encounter advances the story
allowing them to affect their surroundings. in some way.

• including things in your adventures to tempt them. • making their characters' actions help steer
letting their actions put the characters in a tight spot. future events.
including encounters with NPCs who are as feisty and giving NPCs ideals, bonds, and flaws that the adven-
unpredictable as they are. turers can exploit.

INTRODUCTTON

PART1

Master of Worlds

• ••

• •

OUR WORLD IS TH E SETTING FOR YOUR CAMPAIGN , they compete with each other for power. Some seek to
preserve the world and usher in a golden age. Others
the place where adventures happen. Even strive toward evil ends, seeking to rule the world with
if you use an existing setting, such as the an iron fist. Still others seek goals that range from
Forgotten Realms, it becomes yours as you the practical to the esoteric, such as the accumulation
set your adventures there, create characters of material wealth or the resurrection of a dead god.
to inhabit it, and make changes to it over Whatever their goals, these factions inevitably collide,
the course of your campaign. This chapter is all about creating conflict that can steer the world's fate.
building your world and then creating a campaign to
take place in it. The World Is Magical. Practitioners of magic are
relatively few in number, but they leave evidence of
THE BIG PICTURE their craft everywhere. The magic can be as innocuous
and commonplace as a potion that heals wounds to
This book, the Player's Handbook, and the Monster something much more rare and impressive, such as a
Manual present the default assumptions for how the levitating tower or a stone golem guarding the gates
worlds of D&D work. Among the established settings of of a city. Beyond the realms of civilization are caches
D&D, the Forgotten Realms, Greyhawk, Dragonlance, of magic items guarded by magic traps, as well as
and Mystara don't stray very far from those magically constructed dungeons inhabited by monsters
assumptions. Settings such as Dark Sun, Eberron, created by magic, cursed by magic, or endowed with
Raven loft, Spelljammer, and Planescape venture further magical abilities.
away from that baseline. As you create your own world,
it's up to you to decide where on the spectrum you want IT's YouR WoRLD _ _ _ _ _ _ __
your world to fall.
In creating your campaign world, it helps to start with
CoRE AssuMPTIONS _______ the core assumptions and consider how your setting
might change them. The subsequent sections of this
The rules of the game are based on the following core chapter address each element and give details on how to
assumptions about the game world. flesh out your world with gods, factions, and so forth.

Gods Oversee the World. The gods are real and The assumptions sketched out above aren't carved
embody a variety of beliefs, with each god claiming in stone. They inspire exciting D&D worlds full of
dominion over an aspect of the world, such as war, adventure, but they're not the on ly set of assumptions
forests, or the sea. Gods exert influence over the world that can do so. You can build an interesting campaign
by granting divine magic to their followers and sending concept by altering one or more of those core
signs and portents to guide them. The follower of a god assumptions, just as well-established D&D worlds have
serves as an agent of that god in the world . The agent done. Ask yourself, "What if the standard assumptions
seeks to further the ideals of that god and defeat its weren't true in my world?"
rivals. While some folk might refuse to honor the gods,
none can deny their existence. The World Is a Mundane Place. What if magic is rare
and dangerous, and even adventurers have limited or no
Much ofthe World Is Untamed. Wild regions access to it? What if your campaign is set in a version of
abound. City-states, confederacies, and kingdoms our own world's history?
of various sizes dot the Ia ndscape, but beyond their
borders the wilds crowd in. People know the area they The World Is New. What if your world is new, and
live in well. They've heard stories of other places from the characters are the first of a long line of heroes?
merchants and travelers, but few know what lies beyond The adventurers might be champions of the first
the mountains or in the depths of the great forest unless great empires, such as the empires of Netheril and
they've been there themselves. Cormanthor in the Forgotten Realms setting.

The World Is Ancient. Empires rise and fall , leaving The World Is Known. What if the world is completely
few places that have not been touched by imperial charted and mapped, right down to the "Here there be
grandeur or decay. War, time, and natural forces dragons" notations? What if great empires cover huge
eventually claim the mortal world, leaving it rich with stretches of countryside, with clearly defined borders
places of adventure and mystery. Ancient civilizations between them? The Five Nations of the Eberron setting
and their knowledge survive in legends, magic were once part of a great empire, and magically aided
items, and their ruins. Chaos and evil often follow an travel between its cities is commonplace.
empire's collapse.
Monsters Are Uncommo"n. What if monsters are
Conflict Shapes the World's History. Powerful rare and terrifying? In the Ravenloft setting, horrific
individuals strive to make their mark on the world, and domains are governed by monstrous rulers. The
factions of like-minded individuals can alter the course populace lives in perpetual terror of these darklords
of history. Factions include religions led by charismatic and their evil minions, but other monsters rarely trouble
prophets, kingdoms ruled by lasting dynasties, and people's daily lives.
shadowy societies that seek to master long-lost magic.
The influence of such factions waxes and wanes as Magic Is Everywhere. What if every town is ruled
by a powerful wizard? What if magic item shops are
common? The Eberron setting makes the use of magic

CHAPTER 1 \A WORLD OF YOUR OWN 9

an everyday occurrence, as magical flying ships and calls clerics and paladins to his service and encourages
trains carry travelers from one great city to another. them to spread the ideals of honorable warfare,
chival ry, and justice in society. Even in the midst of his
Gods Inhabit the Land, orAre EntirelyAbsent. everlasting war with his brother Hextor, god of war and
What if the gods regularly walk the earth? What if the tyra nny, Heironeous promotes his own portfolio: war
characters can challenge them and seize their power? fought nobly and in the cause of justice.
Or what if the gods are remote, and even angels never
make contact with mortals? In the Dark Sun setting, the People in most D&D worlds are polytheistic, honoring
gods are extremely distant-perhaps nonexistent-and deities of their own and acknowledging pantheons of
clerics rely instead on elemental power for their magic. other cultures. Individuals pay homage to various gods,
regardless of alignment. In the Forgotten Realms, a
Gons OF YouR WoRLD person might propitiate Umberlee before setting out
to sea, join a communal feast to celebrate Chauntea at
Appendix B of the Player's Handbook presents a harvest time, and pray to Malar before going hunting.
number of pantheons (loose groupings of deities not
united by a single doctrine or philosophy) for use in your Some individuals feel a calling to a particular deity's
game, including the gods of established D&D worlds service and claim that god as a patron. Particularly
and fantasy-historical pantheons. You can adopt one of devoted individuals become priests by setting up a
these pantheons for your campaign, or pick and choose shrine or helping to staff a holy site. Much more rarely,
deities and ideas from them as you please. See "A those who feel such a calling become clerics or paladins
Sample Pantheon" in this section for an example. invested with the responsibility of true divine power.

As far as the game's rules are concerned, it doesn't Shrines and temples serve as community gathering
matter if your world has hundreds of deities or a church points for religious rites and festivals. Priests at such
devoted to a single god. In rules terms, clerics choose sites relate stories of the gods, teach the ethics of their
domains, not deities, so your world can associate patron deities, offer advice and blessings, perform
domains with deities in any way you choose. religious rites, and provide training in activities their
deities favor. Cities and large towns can host several
LOOSE PANTHEONS temples dedicated to individual gods important to the
community, while smaller settlements might have a
Most D&D worlds have a loose pantheon of gods. single shrine devoted to any gods the locals revere.
A multitude of deities rule the various aspects of
existence, variously cooperating with and competing To quickly build a pantheon for your world, crea~e
against one another to administer the affairs of the a single god for each of the eight domains available
universe. People gather in public shrines to worship to clerics: Death, Knowledge, Life, Light, Nature,
gods of life and wisdom, or meet in hidden places to Tempest, Trickery, and War. You can invent names
venerate gods of deception or destruction. and personalities for these deities, or borrow deities
from other pantheons. This approach gives you a small
Each deity in a pantheon has a portfolio and is pantheon that covers the most significant aspects of
responsible for advancing that portfolio. In the existence, and it's easy enough to extrapolate other
Greyhawk setting, Heironeous is a god of valor who areas oflife each deity controls. The god of Knowledge,

DAWN WAR DEITIES Alignment Suggested Domains Symbol
LE Trickery Three triangles in tight formation
Deity CG Tricker y Three stacked wavy lines
Asmodeus , god of tyranny LG Life, War Dragon 's head , in profile, facing left
Avandra, goddess of change and luck LE War Claw with three talons pointing down
Bahamut, god of justice and nobility CG Light Eight-pointed star
Bane, god of war and conquest LN Knowledge Upper half of a clockwork gear
Corellon, god of magic and the arts CE Tempest, War Triangular eye with bony protrusions
Erath is, goddess of civilization and invention N Knowledge Crook shaped like a stylized eye
Gruumsh, god of destruction CN Tempest Sword with a lightning bolt cross guard
loun , goddess of knowledge CE Tricker y Eight· pointed star with a web motif
Kord, god of strength and storms N Nature, Tempest Wavelike swirl
Lolth , goddess of spiders and lies LG Knowledge, War Flaming anvil
Melora, goddess of wilderness and the sea NG Life, Light Circle with six outwardly radiating points
Moradin, god of creation LN Life, Death Raven's head, in profile, facing left
Pelor, god of the sun and agriculture CG Trickery Crescent moon
Raven Queen , goddess of death CE Trickery Jagged counter-clockwise spiral
Sehanine, goddess of the moon LE Trickery, War Five-pointed star with curved points
Tharizdun , god of madness NE Death T attached to a circular shackle
Tiamat, goddess of wealth, greed, and vengeance NE Death, Knowledge Partially shattered one-eyed skull
Torog, god of the Underdark CE Trickery, Death Snake in the shape of a dagger
Vecna, god of evil secrets
Zehir, god of darkness and poison

CHAPTER I I A WORLD Of YOUR OWN

10

for example, might also be patron of magic and strictly devoted to their single god, though even
prophecy, while the god of Light could be the sun god members of aberrant cults pay lip service in the temples
and the god of time. of the tight pantheon.

A SAMPLE PANTHEON The Norse deities serve as an example of a tight
pantheon. Odin is the pantheon's leader and father
The pantheon of the Dawn War is an example of a figure. Deities such as Thor, Tyr, and Freya embody
pantheon assembled from mostly preexisting elements important aspects of Norse culture. Meanwhile, Loki
to suit the needs of a particular campaign. This is and his devotees lurk in the shadows, sometimes aiding
the default pantheon in the fourth edition Player's the other deities, and sometimes working against them
Handbook (2008). The pantheon is summarized in the with the pantheon's enemies.
Dawn War Deities table.
MYSTERY CULTS
This pantheon draws in several nonhuman deities
and establishes them as universal gods. These gods A mystery cult is a secretive religious organization
include Bahamut, Corellon, Gruumsh, Lolth, Moradin, based on a ritual of initiation, in which the initiate is
Sehanine, and Tiamat. Humans worship Moradin and mystically identified with a god, or a handful of related
Corellon as gods of their respective portfolios, rather gods. Mystery cults are intensely personal, concerned
than as racial deities. The pantheon also includes the with the initiate's relationship with the divine.
archdevil Asmodeus as god of domination and tyranny.
Sometimes a mystery cult is a type of worship within
Several of the gods are drawn from other pantheons, a pantheon. It acknowledges the myths and rituals of
sometimes with new names for the gods. Bane comes the pantheon, but presents its own myths and rites as
from the Forgotten Realms. From Greyhawk come primary. For instance, a secretive order of monks might
Kord, Pelor, Tharizdun, and Vecna. From the Greek immerse themselves in a mystical relationship to a god
pantheon come Athena (renamed Erathis) and Tyche who is part of a broadly worshiped pantheon.
(renamed Avandra), though both are altered. Set
(renamed Zehir) comes from the Egyptian pantheon. A mystery cult emphasizes the history of its god,
The Raven Queen is akin to the Norse pantheon's He! which is symbolically reenacted in its initiation ritual.
and Greyhawk's Weejas. That leaves three gods created The foundation myth of a mystery cult is usually simple
from scratch: Ioun, Melora, and Torog: and often involves a god's death and rising, or a journey
to the underworld and a return. Mystery cults often
OTHER RELIGIOUS SYSTEMS revere sun and moon deities and agricultural deities-
gods whose portfolios reflect the cycles of nature.
In your campaign, you can create pantheons of gods
who are closely linked in a single religion, monotheistic DIVINE RANK
religions (worship of a single deity), dualistic systems
(centered on two opposing deities or forces), mystery The divine beings of the multiverse are often categorized
cults (involving personal devotion to a single deity, according to their cosmic power. Some gods are worshiped
usually as part of a pantheon system), anjmistic on multiple worlds and have a different rank on each world,
religions (revering the spirits inherent in nature), or depending on their influence there.
even forces and philosophies that don't center on deities.
Greater deities are beyond mortal understanding. They
TIGHT PANTHEONS can't be summoned, and they are almost always removed
from direct involvement in mortal affairs. On very rare
In contrast to a loose pantheon, a tight pantheon focuses occasions they manifest avatars similar to lesser deities, but
on a single religion whose teachings and edicts embrace slaying a greater god's avatar has no effect on the god itself.
a small group of deities. Followers of a tight pantheon
might favor one of its member deities over another, Lesser deities are embodied somewhere in the planes.
but they respect all the deities and honor them with Some lesser deities live in the Material Plane, as does the
sacrifices and prayer as appropriate. unicorn-goddess Lurue of the Forgotten Realms and the
titanic shark-god Sekolah revered by the sahuagin . Others
The key trait to a tight pantheon is that its worshipers live on the Outer Planes, as Lolth does in the Abyss. Such
embrace a single ethos or dogma that includes all the deities can be encountered by mortals.
deities. The gods of the tight pantheon work as one to
protect and guide their followers. You can think of a Quasi-deities have a divine origin, but they don't hear or
tight pantheon as similar to a family. One or two deities answer prayers, grant spells to clerics, or control aspects of
who lead the pantheon serve as parent figures, with mortal life. They are still immensely powerful beings, and in
the rest serving as patrons of important aspects of the theory they could ascend to godhood if they amassed enough
culture that worships the pantheon. A single temple worshipers. Quasi-deities fall into three subcategories:
honors all members of the pantheon. demigods, titans, and vestiges .

Most tight pantheons have one or more aberrant Demigods are born from the union of a deity and a mortal
gods-deities whose worship isn't sanctioned by the being. They have some divine attributes, but their mortal
priests of the pantheon as a whole. These are usually parentage makes them the weakest quasi-deities.
evil deities and enemies of the pantheon, such as the
Greek Titans. These deities have cults of their own, Titans are the divine creations of deities. They might be
attracting social outcasts and villains to their worship. birthed from the union of two deities, manufactured on
These cults resemble mystery cults, their members a divine forge, born from the blood spilled by a god, or
otherwise brought about through divine will or substance.
TI
Vestiges are deities who have lost nearly all their worshipers
and are considered dead, from a mortal perspective. Esoteric
rituals can sometimes contact these beings and draw on
their latent power.

"""'

CHAPTER 1 I A WORLD OF YOUR OWN

The cult's ritual of initiation follows the pattern of its so seek to liberate their spirits from this material world
foundation myth. Neophytes retrace the god's footsteps and its evils through asceticism and contemplation.
in order to share the god's ultimate fate. In the case of
dying and rising gods, the symbolic death of the initiate Rare dualistic systems believe that the two opposing
represents the idea of death to the old life and rebirth forces must remain in balance, always pulling away
into a transformed existence. Initiates are born into from each other but remaining bound together in
a new life, remaining in the world of mortal affairs creative tension.
but feeling elevated to a higher sphere. The initiate is
promised a place in the god's realm after death, but also In a cosmology defined by an eternal conflict between
experiences new meaning in life. good and evil, mortals are expected to ta ke sides. The
majority of those who follow a dualistic religion worship
MONOTHEISM the deity or force identified as good. Worshipers of
Monotheistic religions revere only one deity, and in the good deity trust themselves to that god's power to
some cases, deny the existence of any other deity. If you protect them from the evil deity's minions. Because
introduce a monotheistic religion into your campaign, the evil deity in such a religion is usually the source
you need to decide whether other gods exist. Even if of everything that is detrimental to existence, only the
they don't, other religions can exist side by side with perverse and depraved worship this god. Monsters
and fiends serve it, as do certain secretive cults. The
the monotheistic religion. If these religions have clerics myths of a dualistic religion usually predict that the
with spellcasting ability, their spells might be powered good deity will triumph in an apocalyptic battle, but the
by the one true deity, by lesser spirits who aren't deities forces of evil believe that the outcome of that battle isn't
(possibly including powerful aberrations, celestials, fey, predetermined and work to promote their deity's victory.
fiends, or elementals), or simply by their faith.
Deities in a dualistic system maintain large portfolios.
The deity of a monotheistic religion has an extensive All aspects of existence reflect the dualistic struggle,
portfolio and is portrayed as the creator of everything, in and therefore all things can fall on one side or the other
control of everything, and concerned with every aspect of the conflict. Agriculture, mercy, the sky, medicine,
of existence. Thus, a worshiper of this god offers prayers and poetry reside in the portfolio of the good deity, and
and sacrifices to the same god regardless of what famine , hatred, disease, and war belong to the evil deity.
aspect of life is in need of divine assistance. Whether
marching into war, setting off on a journey, or hoping ANIMISM
to win someone's affections, the worshiper prays to Animism is the belief that spirits inhabit every part of
the same god. the natural world. In an animistic worldview, everything
has a spirit, from the grandest mountain to the lowliest
Some monotheistic religions describe different rock, from the great ocean to a babbling brook, from the
aspects of their deity. A single god appears in different sun and moon to a fighter's ancestral sword. All these
aspects as the Creator and the Destroyer, and the clerics objects, and the spirits that inhabit them, are sentient,
of that god focus on one aspect or the other, determining though some are more aware, alert, and intelligent
their domain access and possibly even their alignment than others. The most powerful spirits might even
on that basis. A cleric who venerates the Destroyer be considered deities. All are worthy of respect if not
aspect chooses the Tempest or War domain, while veneration.
one who worships a Creator aspect chooses the Life
or Nature domains. In some monotheistic religions, Animists don't typically pay allegiance to one spirit
clerics group themselves into distinct religious orders to over the others. Instead, they offer prayers and sacrifices
differentiate clerics who choose different domains. to different spirits at different times, as appropriate
to the situation. A pious character might make daily
DUALISM prayers and offerings to ancestor spirits and the spirits
A dualistic religion views the world as the stage for of the house, regular petitions to important spirits
a conflict between two diametrically opposed deities such as the Seven Fortunes of Good Luck, occasional
or divine forces. Most often, the opposed forces are sacrifices of incense to location spirits such as the
good and evil, or opposed deities representing those spirit of a forest, and sporadic prayers to a host of other
forces. In some pantheons, the forces or deities of law spirits as well.
and chaos are the fundamental opposites in a dualistic
system. Life and death, light and darkness, rna ter and An animistic religion very tolerant. Most spirits don't
spirit, body and mind, health and illness, purity and care to whom a character also offers sacrifices, as long
defilement, positive energy and negative energy-the as they receive the sacrifices and respect they are due.
D&D universe is full of polar opposites that could serve As new religions spread through animist lands, those
as the foundation for a dualistic religion. Whatever the religions typically win adherents but not converts.
terms in which the dualism is expressed, half of the pair People incorporate new spirits and deities into their
is usually believed to be good- beneficial, desirable, prayers without displacing the old ones. Contemplatives
or holy-while the other half is considered bad, if not and scholars adopt complex philosophical systems and
practices without changing their belief in and respect
explicitly evil. If the fundamental conflict in a religion is for the spirits they already venerate.
expressed as the opposition between matter and spirit,
the followers of that religion believe that one of the two Animism functions as a large tight pantheon. Animist
(usually matter) is evil and the other (spirit) is good, and clerics serve the pantheon as a whole, and so can
choose any domain, representing a favorite spirit for
that cleric.

CHAPTER I j A WORLD Of YOUR OWN
12

FORCES AND PHILOSOPHIES

Not all divine powers need to be derived from deities.

In some campaigns, believers hold enough conviction

in their ideas about the universe that they gain magical ·, ·

(Video) Real Estate Practice Exam Questions 1-50 (2020)

power from that conviction. In other campaigns, '

impersonal forces of nature or magic replace the gods

by granting power to mortals attuned to them. Just as

druids and rangers can gain their spell ability from the

force of nature rather than from a specific nature deity,

some clerics devote themselves to ideals rather than to

a god. Paladins might serve a philosophy of justice and

chivalry rather than a specific deity.

Forces and philosophies aren't worshiped; they aren't

beings that can hear and respond to prayers or accept

sacrifices. Devotion to a philosophy or a force isn't

necessarily exclusive of service to a deity. A person can

be devoted to the philosophy of good and offer worship

to various good deities, or revere the force of nature

and also pay homage to the gods of nature, who might

be seen as personal manifestations of an impersonal

force. In a world that includes deities with demonstrable

power (through their clerics), it's unusual for a

philosophy to deny the existence of deities, although a

common philosophical belief states that the deities are

more like mortals than they would have mortals believe.

According to such philosophies, the gods aren't truly

immortal (just very long-lived), and mortals can attain

divinity. In fact, ascending to godhood is the ultimate

goal of some philosophies. .

The power of a philosophy stems from the belief that •

mortals invest in it. A philosophy that only one person

believes in isn't strong enough to bestow magical power

on that person.

HUMANOIDS AND THE GODS shape that race's culture? Are other folk free of such
divine ties and free to worship as they wish? Has a race
When it comes to the gods, humans exhibit a far wider turned against the god that created it? Has a new race
range of beliefs and institutions than other races do. In appeared, created by a god within the past few years?
many D&D settings, orcs, elves, dwarves, goblins, and
other humanoids have tight pantheons. It is expected A deity might also have ties to a kingdom, noble
that an ore will worship Gruumsh or one of a handful of line, or other cultural institution. With the death of
subordinate deities. In comparison, humanity embraces the emperor, a new ruler might be selected by divine
a staggering variety of deities. Each human culture portents sent by the deity who protected the empire in
might have its own array of gods. its earliest days. In such a land, the worship of other
gods might be outlawed or tightly controlled.
In most D&D settings, there is no single god that
can claim to have created humanity. Thus, the human Finally, consider the difference between gods who
proclivity for building institutions extends to religion. are tied to specific humanoid races and gods with
A single charismatic prophet can convert an entire more diverse followers. Do the races with their own
kingdom to the worship of a new god. With that pantheons enjoy a place of privilege in your world, with
prophet's death, the religion might wax or wane, or the their gods taking an active role in their affairs? Are the
prophet's followers might turn against one another and other races ignored by the gods, or are those races the
found several competing religions. deciding factor that can tilt the balance of power in favor
of one god or another?
In comparison, religion in dwarven society is set in
stone. The dwarves of the Forgotten Realms identify
Moradin as their creator. While individual dwarves
might follow other gods, as a culture the dwarves are
pledged to Moradin and the pantheon he leads. His
teachings and magic are so thoroughly ingrained in
dwarven culture that it would take a cataclysmic shift to
replace him.

With that in mind, consider the role of the gods in
your world and their ties to different humanoid races.
·Does each race have a creator god? How does that god

CHAPTER 1 I A WORLD OF YOUR OWN !3

MAPPING YouR CAMPAIGN KINGDOM SCALE

When creating the world where your campaign takes On a kingdom-scale map, each hex represents 6 miles.
place, you'll want a map. You can take one of two A map at this scale covers a large region, about the size
approaches with it: top-down or bottom-up. Some DMs of Great Britain or half the size of the state of California.
like to start at the top, creating the big picture of the That's plenty of room for adventuring.
world at the start of the campaign by having a map
that shows whole continents, and then zooming in on The first step of mapping a region at this scale is to
smaller areas. Other DMs prefer to go the opposite sketch out the coastlines and any major bodies of water
direction, starting with a small campaign area that is in the area. Is the region landlocked or on a coast? A
mapped at a province or kingdom scale, then zooming coastal region might include islands offshore, and a
out as adventures take the characters into new territory. landlocked area might include an inland sea or major
lakes. Alternatively, the region could consist of a single
Whichever approach you take, hexes work well for large island, or an isthmus or peninsula with multiple
mapping outdoor environments where travel can go coastlines.
in any direction and calculating distance might be
important. A single sheet of hex paper with 5 hexes to Next, sketch in any major mountain ranges. Foothills
the inch is ideal for most maps. Use a scale for your map form a transition between the mountains and lowlands,
that's best suited to the level of detail you want. Chapter and broad patches of gentle hills might dot the region.
7 offers more information about creating and mapping
wilderness areas. That leaves the rest of your map for relatively fiat
terrain: grasslands, forests, swamps, and the like. Place
PROVINCE SCALE these elements as you see fit.

For the most detailed areas of your world, use a Map out the courses of any rivers that flow through
the area. Rivers are born in mountains or inland areas
province scale where each hex represents 1 mile. A that see a lot of rainfall, winding down to the nearest
major body of water that doesn't require the river to
full-page map at this scale represents an area that cross over higher elevation. Tributaries join rivers as
they grow larger and move toward a lake or the sea.
can be covered in one day's travel in any direction
Finally, place the major towns and cities of the region.
from the center of the map, assuming clear terrain. As At this scale, you don't need to worry about small towns
and villages, or about mapping every belt of farmland.
such, province scale is a useful scale for mapping a Even so, a settled region this size might easily have
eight to twelve cities or towns to put on the map.
campaign's starting area (see "Creating a Campaign,"
CONTINENT SCALE
later in this chapter) or any location where you expect
For mapping a whole continent, use a scale where
to track the adventurers' movement in hours rather 1 hex represents 60 miles. At this scale, you can't
see more than the shape of coastlines, the biggest
than days. • mountain ranges, major rivers, huge lakes, and political
boundaries. A map at this scale is best for showing how
The ground cover of an area this size will include multiple kingdom-scale maps fi t together, rather than
tracking the movement of adventurers day by day.
broad stretches of one predominant terrain type, broken
The same process you use for mapping a region at
up by other isolated terrain types. kingdom scale works for mapping a whole continent.
A continent might have eight to twelve large cities that
A settled region mapped at this scale might have one deserve a place on the map, most likely major trade
centers and the capitals of kingdoms.
town and eight to twelve villages or farming hamlets.
COMBINING SCALES
A wilder region might have only a single keep, or no
--~--------------
settlements at all. You can also indicate the extent of Whichever scale you start with, it's easy to zoom in or
out on your maps. At continent scale, 1 hex represents
the cleared farmland that surrounds each city or town. the same area as 10 kingdom-scale hexes. Two cities
that are 3 hexes (180 miles) apart on your continent
On a province-scale map, this will show as a belt a few map would be 30 hexes apart on your kingdom map,
and might define the opposite ends of the region you're
hexes wide surrounding each town or village. Even detailing. At kingdom scale, 1 hex equals 6 province-
scale hexes, so it's easy to put the region covered by your
small villages farm most of the arable land within a province-scale map into the center of a kingdom-scale
map and create interesting areas around it.
mile or two.

I4 CHAPTER 1 I A WORLD OF YOUR OWN

SETTLEMENTS

The places where people live-bustling cities,
prosperous towns, and tiny villages nestled among
miles of farmland- help define the nature of civilization
in your world. A single settlement- a home base for
your adventurers- is a great place to start a campaign
and begin your world building. Consider the following
questions as you create any settlement in your world:

What purpose does it serve in your game?
How big is it? Who lives there?
What does it look, smell, a-nd sound like?
Who governs it? Who else holds power? Is it part
of a larger state?
What are its defenses?
• Where do characters go to find the goods and services
they need?
• What temples and other organizations feature
prominently?
• What fantastic elements distinguish it from an
ordinary town?
Why should the characters care about the settlement?

The guidelines in this section are here to help you build
the settlement you want for whatever purpose you have
in mind. Disregard any advice here that runs counter to
your vision for a settlement.

PURPOSE

A settlement exists primarily to facilitate the story
and fun of your campaign. Other than that point, the
settlement's purpose determines the amount of detail
you put into it. Create only the features of a settlement
that you know you'll need, along with notes on general
features . Then allow the place to grow organically as the
adventurers interact with more and more of it, keeping
notes on new places you invent.

LOCAL COLOR

A settlement might serve as a place where the
characters stop to rest and to buy supplies. A settlement
of this sort needs no more than a brief description.
Include the settlement's name, decide how big it is,
add a dash of flavor ("The smell of the local tanneries
never lifts from this town"), and let the adventurers get
on with their business. The history of the inn where
the characters spend the night, the mannerisms of the
shopkeeper they buy supplies from-you can add this
level of detail, but you don't have to. If the characters
return to the same settlement, start adding these local
features so that it begins to feel a little more like a home
base, albeit a temporary one. Let the settlement develop
as the need arises.

HOME BASE

A settlement gives the adventurers a place to live,
train, and recuperate between adventures. An entire
campaign can center on a particular town or city.
Such a settlement is the launching pad from which the
characters go out into the wider world.

Designed well, a home base can hold a special place
in the adventurers' hearts, particularly if they care about
one or more NPCs who live there.

To make a home base come alive, you'll need to
invest some time fl eshing out details, but the players
can help you with that work. Ask them to tell you a bit
abou t mentors, family members, and other important
people in their characters' lives. Feel free to add to and
modify what they give you , but you'll start with a solid
foundation of the nonplayer characters (NPCs) who are
important to the characters. Let the players describe
where and how their characters spend their time- a
favorite tavern, library, or temple, perhaps.

Using these NPCs and locations as a starting point,
flesh out the settlement's cast of characters. Detail
its leadership, including law enforcement (discussed
later in the chapter). Include characters who can
provide information, such as sages, soothsayers,
librarians, and observant vagabonds. Priests can
provide spellcasting as well as information. Make note
of merchants who might regularly interact with the
adventurers and perhaps compete with one another for
the party's business. Think about the people who run
the adventurers' favorite tavern. And then add a handful
of wild cards: a shady dealer, a mad prophet, a retired
mercenary, a drunken rake, or anyone else who adds a
dash of adventure and intrigue to your campaign.

ADVENTURE SITE
A village harboring a secret cult of devil worshipers. A
town controlled by a guild of wererats. A city conquered
by a hobgoblin army. These settlements aren't merely
rest stops but locations where adventures unfold. In
a settlement that doubles as an adventure location,
detail the intended adventure areas, such as towers
and warehouses. For an event-based adventure, note
the NPCs who play a part in the adventure. This
work is adventure preparation as much as it is world
building, and the cast of characters you develop for
your adventure-including allies, patrons, enemies, and
extras- can become recurring figures in your campaign.

SIZE

aMost settlements in a D&D world are villages clustered

around larger town or city. Farming villages supply the
town or city population with food in exchange for goods
the farmers can't produce themselves. Towns and cities
are the seats of the nobles who govern the surrounding
area, and who carry the responsibility for defending the
villages from attack. Occasionally, a local lord or lady
lives in a keep or fortress with no nearby town or city.

VILLAGE
Population: Up to about 1,000
Government: A noble (usually not a resident) rules the

village, with an appointed agent (a reeve) in residence
to adjudicate disputes and collect taxes.
Defense: The reeve might have a small force of soldiers.
Otherwise, the village relies on a citizen militia.
Commerce: Basic supplies are readily available,
possibly from an·inn or a trading post. Other goods
are available from traveling merchants.
Organizations: A village might contain one or two
temples or shrines, but few or no other organizations.

_lost settlements are agricultural villages, supporting Cities typically thrive in areas where large expanses
themselves and nearby towns or cities with crops and of fertile, arable land surround a location accessible to
meat. Villagers produce food in one way or another-if trade, almost always on a navigable waterway.
not by tending the crops, then supporting those who do
by shoeing horses, weaving clothes, milling grain, and Cities almost always have walls, and the stages of a
the like. The goods they produce feed their families and city's growth are easily identified by the expansion of
upply trade with nearby settlements. the walls beyond the central core. These internal walls
naturally divide the city into wards (neighborhoods
A village's population is dispersed around a large area defined by specific features), which have their own
of land. Farmers live on their land, which spreads them representatives on the city council and their own noble
videly around the village center. At the heart of the administrators.
\·illage, a handful of structures cluster together: a well,
a marketplace, a small temple or two, a gathering place, Cities that hold more than twenty-five thousand people
and perhaps an inn for travelers. are extremely rare. Metropolises such as Waterdeep in
the Forgotten Realms, Sharn in Eberron, and the Free
TowN City of Greyhawk stand as vital beacons of civilization in
Population: Up to about 6 ,000 the D&D worlds.
Government: A resident noble rules and appoints a lord
ATMOSP-H-ER-E- - - -
mayor to oversee administration. An elected town
council represents the interests of the middle class. What do the adventurers first notice as they approach
Defense: The noble commands a sizable army of or enter a settlement? The towering wall bristling
professional soldiers, as well as personal bodyguards. with soldiers? The beggars with hands outstretched,
Commerce: Basic supplies are readily available, though pleading for aid outside the gate? The noisy hubbub of
exotic goods and services are harde·r to find. Inns and merchants and buyers thronging the market square?
taverns support travelers. The overpowering stench of manure?
Organizations: The town contains several temples,
as well as various merchant guilds and other Sensory details help bring a settlement to life and
organizations. vividly communicate its personality to your players.
Settle on a single defining factor that sums up a
Towns are major trade centers, situated where important settlement's personality and extrapolate from there.
industries and reliable trade routes enabled the Maybe a city is built around canals, like real-world
population to grow. These settlements rely on commerce: Venice. That key element suggests a wealth of sensory
!.he import of raw materials and food from surrounding details: the sight of colorful boats floating on muddy
·illages, and the export of crafted items to those villages, waters, the sound of lapping waves and perhaps singing
as well as to other towns and cities. A town's population gondoliers, the smells of fish and waste polluting
i more diverse than that of most villages. the water, the feel of humidity. Or perhaps the city is
shrouded in fog much of the time, and you describe the
Towns arise where roads intersect waterways, at the tendrils of cold mist reaching through every crack and
meeting of major land trade routes, around strategic cranny, the muffled sounds of hooves on cobblestones,
defensive locations, or near significant mines or similar the cold air with the smell of rain, and a sense of
natural resources. mystery and lurking danger.

C ITY The climate and terrain of a settlement's environment,
Population: Up to about 25,000 its origin and inhabitants, its government and political
Government: A resident noble presides, with several position, and its commercial importance all have a
bearing on its overall atmosphere. A city nestled against
other nobles sharing responsibility for surrounding the edge of a jungle has a very different feel than one
areas and government functions. One such noble is on the edge of a desert. Elf and dwarf cities present
the lord mayor, who oversees the city administration. a distinct aesthetic, clearly identifiable in contrast to
An elected city council represents the middle class human-built ones. Soldiers patrol the streets to quell
and might hold more actual power than the lord any hint of dissent in a city ruled by a tyrant, while a city
mayor. Other groups serve as important power fostering an early system of democracy might boast an
centers as well. open-air market where philosophical ideas are traded as
Defense: The city supports an army of professional freely as produce. All the possible combinations of these
soldiers, guards, and town watch. Each noble in factors can inspire endless variety in the settlements of
residence maintains a small force of personal your campaign world.
bodyguards.
Commerce: Almost any goods or services are readily GOVERNMENT
available. Many inns and taverns support travelers.
Organizations: A multitude of temples, guilds, and In the feudal society common in most D&D worlds,
other organizations, some of which hold significant power and authority are concentrated in towns and
power in city affairs, can be found within the cities. Nobles hold authority over the settlements
city's walls. where they live and the surrounding lands. They collect
taxes from the populace, which they use for public
Cities are cradles of civilization. Their larger building projects, to pay the soldiery, and to support a
populations require considerable support from both comfortable lifestyle for themselves (although nobles
urrounding villages and trade routes, so they're rare.
CHAPTER 1 I A WORLD OF YOUR OWN

often have considerable hereditary wealth). In exchange, Autocracy. One hereditary ruler wields absolute
they promise to protect their citizens from threats power. The autocrat either is supported by a well-
such as ore marauders, hobgoblin armies, and roving developed bureaucracy or military or stands as the
human bandits. only authority in an otherwise anarchic society. The
dynastic ruler could be immortal or undead. Aundair
Nobles appoint officers as their agents in villages, to and Karrnath, two kingdoms in the Eberron campaign
supervise the collection of taxes and serve as judges setting, have autocrats with royal blood in their veins.
in disputes and criminal trials. These reeves, sheriffs, Whereas Queen Aurala of Aundair relies on wizar.ds
or bailiffs are commoners native to the villages they and spies to enforce her will, Kaius, the vampire king of
govern, chosen for their positions because they already Karrnath, has a formidable army of living and undead
hold the respect of their fellow citizens. soldiers under his command.

Within towns and cities, lords share authority and Bureaucracy. Various departments compose the
administrative responsibility with lesser nobles (usually government, each responsible for an aspect of rule. The
their own relatives), and also with representatives of department heads, ministers, or secretaries answer to a
the middle class, such as traders and artisans. A lord figurehead autocrat or council.
mayor of noble birth is appointed to head the town or
city council and to perform the same administrative Confederacy. Each individual city or town within
functions that reeves carry out in villages. The council the confederacy governs itself, but all contribute to a
consists of representatives elected by the middle class. league or federation that promotes (at least in theory)
Only foolish nobles ignore the wishes of their councils, the common good of all member states. Conditions and
since the economic power of the middle class is often attitudes toward the central government vary from place
more important to the prosperity of a town or city than to place within the confederacy. The Lords' Alliance in
the hereditary authority of the nobility. the Forgotten Realms setting is a loose confederacy of
cities, while the Mror Holds in the Eberron campaign
The larger a settlement, the more likely that other setting is a confederacy of allied dwarf clans.
individuals or organizations hold significant power
there as well. Even in a village, a popular individual-a Democracy. Citizens or their elected representatives
wise elder or a well-liked farmer-can wield more determine the laws in a democracy. A bureaucracy or
influence than the appointed reeve, and a wise reeve military carries out the day-to-day work of government,
avoids making an enemy of such a person. In towns with positions filled through open elections.
and cities, the same power might lie in the hands of a
prominent temple, a guild independent of the council, or Dictatorship. One supreme ruler holds absolute
an individual with magical power. authority, but his or her rule isn't necessarily dynastic.
In other respects this resembles an autocracy. In the
FORMS OF GOVERNMENT Greyhawk campaign setting, a half-demon named Iuz is
the dictator of a conquered land that bears his name.
A settlement rarely stands alone. A given town or city
might be a theocratic city-state or a prosperous free city Feudalism. The typical government of Europe in
governed by a merchant council. More likely, it's part of the Middle Ages, a feudalistic society consists of layers
a feudal kingdom, a bureaucratic empire, or a remote of lords and vassals. The vassals provide soldiers or
realm ruled by an iron-fisted tyrant. Consider how your scutage (payment in lieu of military service) to the lords,
settlement fits into the bigger picture of your world or who in turn promise protection to their vassals.
region-who rules its ruler, and what other settlements
might also lie under its control. Gerontocracy. Elders preside over this society. In
some cases, long-lived races such as elves or dragons
FORMS OF GOVERNMENT are entrusted with the leadership of the land.

dlOO Government dlOO Government Hierarchy. A feudal or bureaucratic government
Militocracy where every member, except one, is subordinate to
01-08 Autocracy 59-64 Monarchy another member. In the Dragonlance campaign setting,
09-13 Bureaucracy 65-74 Oligarchy the dragonarmies of Krynn form a military hierarchy,
14-19 Confederacy 75-78 Patriarchy with the Dragon Highlords as leaders under the dragon
20-22 Democracy 79-80 Meritocracy queen Takhisis.
23-27 Dictatorship 81-83 Plutocracy
28-42 Feudalism 84-85 Republic Kleptocracy. This government is composed of groups
43-44 Gerontocracy 86-92 Satrapy or individuals primarily seeking wealth for themselves,
45-53 Hierarchy 93-94 Kleptocracy often at the expense of their subjects. The grasping
54-56 Magocracy Theocracy Bandit Kingdoms in the Greyhawk campaign setting
57-58 Matriarchy 95 are prime examples. A kingdom run by thieves' guilds
96-00 would also fall into this category.

Typical and fantastical forms of government are Magocracy. The governing body is composed of
described below. Choose one or randomly determine a spellcasters who rule directly as oligarchs or feudal
form of government for a nation or city from the Forms lords, or participate in a democracy or bureaucracy.
of Government table. Examples include the Red Wizards of Thay in the
Forgotten Realms campaign setting and the sorcerer-
kings of Athas in the Dark Sun campaign setting.

Matriarchy or Patriarchy. This society is governed
by the eldest or most important members of one gender.
Draw cities are examples of theocratic matriarchies, for

18 CHAPTER 1 I A WORLD OF YOUR OWN

each is ruled by a council of drow high priestesses who COMMERCE
answer to Lolth, the Demon Queen of Spiders.
Even small villages can provide characters access to the
Meritocracy. The most intelligent and educated gear they need to pursue their adventures. Provisions,
people oversee the society, often with a bureaucracy tents, backpacks, and simple weapons are commonly
to handle the day-to-day work of government. In the available. Traveling merchants carry armor, martial
Forgotten Realms, scholarly monks preside over the weapons, and more specialized gear. Most villages have
fo rtress-library of Candlekeep, overseen by a master of inns that cater to travelers, where adventurers can find
lore called the Keeper. a hot meal and a bed, even if the quality leaves much to
be desired.
Militocracy. Military leaders run the nation under
ma rtial law, using the army and other armed forces. A Villages rely heavily on trade with other settlements,
militocracy might be based on an elite group of soldiers, including larger towns and cities . Merchants pass
an order of dragon riders , or a league of sea princes. through regularly, selling necessities and luxuries to the
vil,Iagers, and any successful merchant has far-reaching
olamnia, a nation ruled by knights in the Dragonlance contacts across the region. Traveling merchants pass
campaign setting, falls into this category. on gossip and adventure hooks to the characters as
they conduct their business. Since merchants make
Monarchy. A single hereditary sovereign wears the their living traversing roads that might be menaced
crown. Unlike the autocrat, the monarch's powers are by bandits or wandering monsters, they hire guards to
limited by law, and the ruler serves as the head of a keep their goods safe. They also carry news from town
democracy, feudal state, or militocracy. The kingdom to town, including reports of situations that cry out for
of Breland, in the Eberron campaign setting, has both the attention of adventurers.
a parliament that makes laws and a monarch who
enfo rces them. These merchants can't provide the services normally
found in a city. For instance, when the characters are in
Oligarchy. A small number of absolute rulers share need of a library or a dedicated sage, a trainer who can
power, possibly dividing the land into districts or handle the griffon eggs they've found , or an architect to
provinces under their control, or jointly ruling together. design their castle, they're better off going to a large city
_.\group of adventurers who take control of a nation than looking in a village.
together might form an oligarchy. The Free City of
Greyhawk is an oligarchy composed of various faction CURRENCY
leaders, with a Lord Mayor as its figurehead.
The straightforward terms "gold piece" (gp), "silver
Plutocracy. Society is governed by the wealthy. The piece" (sp), "copper piece" (cp), "electrum piece" (ep),
elite form a ruling council, purchase representati"on at and "platinum piece" (pp) are used throughout the game
rhe court of a figurehead monarch, or rule by default rules for clarity. You can imbue these denominations
because money is the true power in the realm. Many with more interesting descriptions in your game
cities in the Forgotten Realms campaign setting, world. People give coins specific names, whether
including Waterdeep and Baldur's Gate, are plutocracies. as plain as "dime" or lively as "gold double-eagle." A
country typically mints its own currency, which might
Republic. Government is entrusted to representatives correspond to the basic rules terms. In most worlds, few
of an established electorate who rule on behalf of the currencies achieve widespread distribution, but nearly
electors. Any democracy in which only landowners or all coins are accepted worldwide-except by those
certain classes can vote could be considered a republic. looking to pick a fight with a foreigner.

Satrapy. Conquerors and representatives of another ExAMPLE: THE FoRGOTTEN REALMS
government wield power, ruling the settlement or region
as part of a larger empire. The satraps are bureaucrats The world of the Forgotten Realms provides an
and military officers, or unusual characters or monsters. extensive example of currencies. Although barter,
The cities of Highport and Suderham in the Greyhawk blood notes, and similar letters of trade are common
ca mpaign setting are satrapies controlled by agents of a enough in Faerfin, metal coins and trade bars are the
,·icious gang of marauders known as the Slave Lords. everyday currency.

Theocracy. Rulership falls to a direct representative Common Coinage. Coins appear in a bewildering
or a collection of agents of a deity. The centers of power variety of shapes, sizes, names, and materials. Thanks
in a theocracy are usually located on sacred sites. In to the ambitious traders of Sembia, that nation's oddly
the Eberron campaign setting, the nation of Thrane is shaped coins can be found throughout Faerfin. In
a theocracy devoted to the Silver Flame, a divine spirit S embia, square iron steelpence replace copper coins.
that resides in Thrane's capital of Flamekeep. Triangular silver pieces are ravens, diamond-shaped
electrum pieces are harmarks (commonly called "blue
SAMPLE HIERARCHY oF NoBLE TITLES eyes"), and five-sided gold pieces are nobles. Sembia
doesn't mint platinum coins. All coinage is accepted
Rank Title Rank Title in Sembia, including copper and platinum pieces
from abroad.
1st Emperor/Empress 7th Viscount/
2nd King/Queen Viscountess In Waterdeep, the bustling cosmopolitan center
3rd Duke/Duchess of trade, coppers are called nibs, silvers are shards,
4th Prince/Princess 8th Baron/Baroness
9th Baronet

5th Marquess/Marquise lOth Knight

(Video) 75 Most Common Questions on the Real Estate Exam (2022)

6th Earl or Count/
Countess

CHAPTER 1 I A WORLD OF YOUR OWN 19

electrum pieces are moons, gold pieces are dragons, Trade Bars. Large numbers of coins can be difficult
and platinum coins are suns. The city's two local coins to transport and account for. Many merchants prefer
are the toal and the harbor moon. The toal is a square to use trade bars-ingots of precious metals and alloys
brass trading-coin pierced with a central hole to permit (usually silver) likely to be accepted by virtually anyone.
it to be easily strung on a ring or string, worth 2 gp in Trade bars are stamped or graven with the symbol of the
the city and nothing outside Waterdeep. The harbor trading company or government that originally crafted
moon is a flat crescent of platinum with a central them. These bars are valued by weight, as follows:
hole and an electrum inlay, named for its traditional
use in the docks for buying large amounts of cargo at • A 2-pound silver bar is worth 10 gp and is about 5
once. The coin is worth 50 gp in Waterdeep and 30 gp inches long, 2 inches wide, and 1/2 inch thick.
elsewhere. A 5-pound silver bar is worth 25 gp and is about 6
inches long, 2 inches wide, and 1 inch thick.
The northern city of Silverymoon mints a crescent- A 5-pound gold bar is worth 250 gp and is about the
shaped , shining blue coin called an electrum moon, size of a 2-pound silver bar.
worth 1 gp in that city and 1 ep elsewhere. The city also
issues a larger coin called an eclipsed moon, which The city of Baldur's Gate mints large numbers of
looks like an electrum moon combined a darker silver silver trade bars and sets the standard for this form of
wedge to form a round coin worth 5 ep within the city currency. The city of Mirabar issues black iron spindle-
and 2 ep outside it. shaped trade bars with squared ends weighing about
2 pounds each, worth 10 gp in that city, markedly less
The favored form of currency in the kingdom of in nearby trade centers, a nd as iron is normally valued
Cormyr is the royal coinage of the court, stamped with elsewhere (1 sp per pound).
a dragon on one side and a treasury date mark on the
other. There, coppers are called thumbs, silvers are Odd Currency. Coins and bars aren't the only forms
silver falcons, electrum pieces are blue eyes, gold pieces of hard currency. Gond bells are small brass bells worth
are golden lions, and platinum coins are tricrowns. 10 gp in trade, or 20 gp to a temple of Gond. Shaar
rings, pierced and polished slices of ivory threaded
Even city-states mint their own copper, silver, and gold onto strings by the nomads of the Shaar, are worth 3 gp
pieces. Electrum and platinum pieces are rarer in these per slice.
lands. Smaller states use coinage borrowed from other
nations and looted from ancient sources. Travelers from CREATING YouR OwN
certain lands (notably the wizard-dominated realms of
Thay and Halruaa) use the currencies of other realms As shown in the previous examples, currency doesn't
when trading abroad because their own coins and need to obey a universal standard in your world. Each
tokens are feared to be magically cursed, and so are country and era can have its own coins with its own
s hunned by others. values. Your adventurers might travel through many
different lands and find long-lost treasures. Finding
Conversely, the coins of long-lost, legendary lands · six hundred ancient bedoars from the rule of Coronal
and centers of great magic are honored, though those Eltargrim twelve centuries before offers a deeper sense
who find them are wise to sell them to collectors rather of immersion in your world than finding 60 sp.
than merely spending them in markets. The coins of the
old elven court of Cormanthyr are particularly famous: Varying names and descriptions of coins for the
thalvers (coppers), bedoars (silvers), thammarchs major contemporary and historical realms of your world
(electrum), shilmaers (golds), and ruendils (platinum). adds an additional layer of texture. The golden lions of
These coins a re fine , numerous, and sometimes still Cormyr convey the noble nature of that kingdom. If a
used in trade among elves. nation mints gold coins stamped with leering demonic
faces and called torments, that currency expresses a
GoLD CoiN distinct flavor.

ELECTRUM COIN PLATINUM Co1N Creating new coins connected to specific locations,
SILVER COIN like the toals ofWaterdeep or the eclipsed moons of
Silverymoon, provides another level of detail. As long as
you keep the value of these new coins simple (in other
words, don't invent a coin worth 1.62 gp), you add local
flavor to key locations in your world without adding
undue complexity.

LANGUAGES AND DIALECTS

When fleshing out your world, you can create new
languages and dialects to reflect its unique geography
and history. You can replace the default languages
presented in the Player's Handbook with new ones, or
split languages up into several different dialects.

In some worlds, regional differences might be much
more important than racial ones. Perhaps all the
dwarves, elves, and humans who live in one kingdom
speak a common language, which is completely different

CHAPTER 1 I A WORLD OF YOUR OWN

20

11ARPER5 ORDER OF THE GAUNTLET EMERALD ENCLAVE LoRDs' ..ALLIANCE ZHENTARIM

fro m that spoken in the neighboring kingdom. This representing different factions might have competing
m ight make communication (and diplomacy) between interests or priorities while they pursue the same goals.
rwo kingdoms significantly more difficult.
Adventurer organizations are also a great source of
Widely used languages might have ancient versions, special rewards beyond experience points and treasure.
or there might be completely different ancient tongues Increased standing in an organization has value in and
that adventurers find written in tombs and ruins. Such of itself, and might also come with concrete benefits
languages can add an element of mystery to inscriptions such as access to an organization's information,
and tomes that characters encounter. equipment, magic, and other resources.

You might invent additional secret languages , besides CREATING FACTIONS
Druidic and thieves' cant, that allow members of certain
organizations or political affiliations to communicate. Factions and organizations that you create for your
You could even decide that each alignment has its campaign should grow out of the stories that are
own language, which might be more of an argot used important to the world. Create organizations that your
primarily to discuss philosophical concepts. players will want to interact with, whether as allies,
members, or enemies.
In a region where one race has subjugated another,
the language of the conquerors can become a mark of As a starting point, decide what role you want an
ocial status. Similarly, reading and writing might be organization to play in the world. What is it all about?
restricted by law to the upper classes of a society. What are its goals? Who founded it and why? What do
its members do? Answering these questions should
FACTIONS AND
SAMPLE FACTION: THE HARPERS
ORGANIZATIONS
The Harpers is a scattered network of spellcasters and spies
Temples, guilds, orders, secret societies, and who advocate equality and covertly oppose the abuse of
colleges are important for.ces in the social order of power, magical or otherwise.
any civilization. Their influence might stretch across
multiple towns and cities, with or without a similarly The organization has risen , been shattered, and risen
wide-ranging political authority. Organizations can again several times. Its longevity and resilience are largely
play an important part in the Jives of player characters, due to its decentralized, grassroots, secretive nature, and the
becoming their patrons, allies, or enemies just like autonomy of its various members. The Harpers have small
individual nonplayer characters. When characters join cells and lone operatives throughout the Forgotten Realms,
these organizations, they become part of something although they interact and share information with one
larger than themselves, which can give their adventures another from time to time as needs warrant. The Harpers'
a context in the wider world. ideology is noble, and its members pride themselves on their
ingenuity and incorruptibility. Harpers don't seek power or
ADVENTURERS AND ORGANIZATIONS glory, only fair and equal treatment for all .

At the start of a campaign, backgrounds are a great Motto. "Down with tyranny. Fairness and equality for all."
way to connect adventurers to your world. As the game Beliefs. The Harpers' beliefs can be summarized as follows:
progresses, though, background ties often become less
important. One can never have too much information or arcane
knowledge .
Factions and organizations aimed at player characters • Too much power leads to corruption, and the abuse of
are a way to keep higher-level adventurers connected magic in particular must be closely monitored.
m your world, providing ties to key NPCs and a clear No one should be powerless .
agenda beyond individual gain. In the same way,
Yillainous organizations create an ongoing sense of Goals. Gather information throughout FaerCln, discern
menace above and beyond the threat of solitary foes. the political dynamics within each region, and promote
fairness and equality by covert means . Act openly as a last
Having different characters tied to different factions resort. Thwart tyrants and any leader, government, or group
can create interesting situations at the gaming table, as that grows too powerful. Aid the weak, the poor, and the
long as those factions have similar goals and don't work oppressed .
in opposition to one another all the time. Adventurers
Typical Quests. Typical Harper quests include securing
an artifact that would upset the balance of power in a
region, gathering information on a powerful individual or
organization , and determining the true intentions of an
ambitious political figur~ or evil spellcaster.

CHAPTER l I A WORLD OF YOUR OWN 21

give you a good sense of the organization's personality. Advancing an organization's interests increases
From there, think about typical members. How might a character's renown within that organization by 1.
people describe them? What are the typical members' Completing a mission specifically assigned by that
classes and alignments? What personality traits do they organization, or which directly benefits the organization,
tend to share? increases the character's renown by 2 instead.

Choosing a symbol and a motto for the organization For example, characters with connections to the noble
is a way of summing up the work you've done so far. Order of the Gauntlet complete a mission in which
A faction that uses a stag as a symbol probably has a they free a town from the tyranny of a blue dragon.
very different personality from one that uses a winged Because the order likes to punish evildoers, you might
viper. For a motto, choose not just a message but also increase each character's renown within the order
a tone and style of speech that fits the organization as by 1. Conversely, if killing the dragon was a mission
you've defined it. Consider the motto of the Harpers: given to the adventurers by a senior member of the
"Down with tyranny. Fairness and equality for all." The order, completing the task might instead increase each
Harpers have a straightforward message of freedom character's renown by 2, showing the adventurers as
and prosperity. Contrast that with the motto of a effective allies.
group of politically allied cities in the North calling
themselves the Lords' Alliance: "Threats to home must Meanwhile, the party's rogue might have looted a box
be terminated without prejudice. Superiority is our of rare poisons from the dragon's hoard and sold it to
security." These are sophisticated people involved in a fence who is secretly a Zhentarim agent. You might
a delicate political alliance, with more emphasis on increase the rogue's renown within the Zhentarim by 2
stability than on fairness and equality. since this action directly increased that group's power
and wealth, even though the task was not assigned by an
Finally, think about the ways that player characters agent of the Zhentarim.
might come into contact with the organization. Who
are the important members-not just the leaders, BENEFITS OF RENOWN
but the agents in the field that the adventurers might
encounter? Where are they active, and where do they The benefits of increasing renown within an
have headquarters or strongholds? If adventurers do organization can include rank and authority, friendly
join, what kind of missions might they be sent on? What attitudes from members of the organization, and
rewards can they gain? other perks.

RENOWN Rank. Characters can earn promotions as their
renown increases. You can establish certain thresholds
Renown is an optional rule you can use to track an of renown that serve as prerequisites (though not
adventurer's standing within a particular faction or necessarily the only prerequisites) for advancing in
organization. Renown is a numerical value that starts rank, as shown in the Examples of Faction Ranks table.
at 0, then increases as a character earns favor and For example, a character might join the Lords' Alliance
reputation within a particular organization. You can tie after earning 1 renown within that organization, gaining
benefits to a character's renown, including ranks and the title of cloak. As the character's renown within the
titles within the organization and access to resources. organization increases, he or she might be eligible for
further increases in rank.
A player tracks renown separately for each
organization his or her character is a member of. For You can add rank prerequisites. For example, a
example, an adventurer might have 5 renown within character affiliated with the Lords' Alliance might have
one faction and 20 renown within another, based on the to be at least 5th level before becoming a stingblade, at
character's interaction with each organization over the least lOth level to be a warduke, and at least 15th level
course of the campaign. to be a lioncrown.

GAINING RENOWN You can set these thresholds of renown to any
numbers that work for your game, creating appropriate
A character earns renown by completing missions or ranks and titles for the organizations in your campaign.
quests that serve an organization's interests or involve
the organization directly. You award renown at your Attitudes ofOrganization Members. As a character's
discretion as characters complete these missions renown within an organization grows, members of
or quests, typically at the same time you award that organization are increasingly likely to have heard
experience points. of the character. You can set thresholds at which the
default attitude of an organization's members toward
the character becomes indifferent or friendly. For
example, members of the Emerald Enclave- a faction

EXAMPLES OF FACTION RANKS

Renown Harpers Order ofthe Gauntlet Emerald Enclave Lord's Alliance Zhentarim
Watcher Cheval I Springwarden Cloak Fang
3 Harpshadow Marcheon Summerstrider Redknife Wo lf
10 Brightcandle Whitehawk Autumnreaver Stingblade Viper
25 Wise Owl Vindicator Wi nterstalker Warduke Ardragon
50 High Harper Righteous Hand Master of the Wild Lion crown Dread Lord

CHAPTER l I A WORLD OF YOUR OWN

dedicated to preserving the natural order-might be MAGIC IN YouR WoRLD
less friend ly toward characters who have not cultivated
at least 3 renown within that organization, becoming In most D&D worlds, magic is natural but still wondrous
-riendly by default only when a character has gained 10 and sometimes frightening. People everywhere know
renown within the Emerald Enclave. These thresholds about magic, and most people see evidence of it at some
apply only to the default attitude of most members of an point in their lives. It permeates the cosmos and moves
organization, and such attitudes aren't automatic. NPC through the ancient possessions of legendary heroes,
faction members might dislike an adventurer despite the mysterious ruins of fallen empires, those touched
that character's renown-or perhaps because of it. by the gods, creatures born with supernatural power,
and individuals who study the secrets of the multiverse.
Perks. Earning a rank within an organization comes Histories and fireside tales are filled with the exploits of
with certain benefits, as defined by you. A character of those who wield it.
low rank might gain access to a reliable contact and
adventure leads, a safe house, or a trader willing to What normal folk know of magic depends on where
offer a discount on adventuring gear. A middle-ranked th.ey live and whether they know characters who
cha racter might gain a follower (see chapter 4, "Creating practice magic. Citizens of an isolated hamlet might not
_-onplayer Characters"), access to potions and scrolls, have seen true magic used for generations and speak
the ability to call in a favor, or backup on dangerous in whispers of the strange powers of the old hermit
missions. A high-ranking character might be able to living in the nearby woods. In the city of Waterdeep
call on a small army, take custody of a rare magic item, in the Forgotten Realms setting, the Watchful Order
gain access to a helpful spellcaster, or assign special of Magists and Protectors is a guild of wizards. These
missions to members of lower rank. arcanists wish to make wizardry more accessible so the
order's members can profit from selling their services.
Downtime Activities. You might allow characters
to spend downtime between adventures building Some D&D settings have more magic in them than
;elationships and gaining renown within an others. On Athas, the harsh world of the Dark Sun
organization. For more information on downtime setting, arcane magic is a hated practice that can drain
activities, see chapter 6, "Between Adventures." life from the world. Much of Athas's magic lies in the
hands of evildoers. Conversely, in the world of Eberron,
L OSING RENOWN magic is as commonplace as any other commodity.
Disagreements with members of an organization Mercantile houses sell magic items and services to
a ren't enough to cause a loss of renown within that
organization. However, serious offenses committed SAMPLE FACTION: THE ZHENTARIM
against the organization or its members can result
in a loss of renown and rank within the organization. The Zhentarim (also known as the Black Network) is an
The extent of the loss depends on the infraction and is unscrupulous shadow network that seeks to expand its
left to your discretion. A character's renown within an influence and power throughout the Forgotten Realms.
organization can never drop below 0.
The public face of the Black Network appears relatively
PI ETY benign. It offers the best and cheapest goods and services,
\Vith a few alterations, the renown system can also both legal and illicit, thus destroying its competitors and
making everyone dependent on it.
erve as a measure of a character's link to the gods. It's
a great option for campaigns where the gods take active A member of the Zhentarim thinks of himself or herself
roles in the world. as a member of a very large family and relies on the Black
Network for resources and security. However, members are
Using this approach, you track renown based on granted the autonomy to pursue their own interests and gain
pecific divine figures in your campaign. Each character some measure of personal wealth and influence. As a whole,
bas the option to select a patron deity or pantheon with the Zhentarim promises "the best of the best," although
goals, doctrine, and taboos that you have created. Any in truth the organization is more interested in spreading
renown he or she earns is called piety. A character its own propaganda and influence than investing in the
gains piety for honoring his or her gods, fulfilling their improvement of its individual members.
commands,.and respecting their taboos. A character
loses piety for working against those gods, dishonoring Motto. "join us and prosper. Oppose us and suffer."
them, defiling their temples, and foiling their aims. Beliefs. The Zhentarim's beliefs can be summarized
The gods bestow favors on those who prove their as follows:
devotion. With each rank of piety gained, a character
can pray for divine favor once per day. This favor usually • The Zhentarim is your family. You watch out for it, and it
comes in the form of a cleric spell like bless. The favor watches out for you.
ofte n comes with a sign of the divine benefactor; for
example, a character dedicated to Thor might receive a • You are the master of your own destiny. Never be less than
pel! accompanied by the boom of thunder. what you deserve to be.
A high level of piety can also lead to a character Everything and everyone has a price.
gaining a more persistent benefit, in the form of a
blessing or charm (see chapter 7, "Treasure," for such Goals. Amass wea lth, power, and influence, and thereby
upernatural gifts). dominate Faerun .

Typical Quests. Typical Zhentarim quests include
plundering or stealing a treasure hoard, powerful magic item ,
or artifact; securing a lucrative business contract or enforcing
a preexisting one; and establishing a foothold in a place
where the Zhentarim holds little sway.

CH APTER I I A WORLD OF YOUR OWN 23

anyone who can afford them. People purchase tickets to Cabal of Thar-Zad. As a sign of his high standing within
ride airships and trains propelled by elemental magic. its hierarchy, he is allowed to wear the red and green
robes of a master. Of course, when he wears these
Consider these questions -when fitting magic into robes, his occupation is easily identified by those who
your world: know of the cabal. This recognition could be a boon or
a nuisance, since the Cabal of Thar-Zad has a fearsome
Is some magic common? Is some socially reputation.
unacceptable? Which magic is rare?
How unusual are members of each spellcasting If you go this route, you can treat schools of magic,
class? How common are those who can cast high- bardic colleges, and druid circles as organizations,
level spells? using the guidelines for organizations presented earlier
How rare are magic items, magical locations, in this chapter. A player character necromancer might
and creatures that have supernatural powers? At cultivate renown within the Cabal of Thar-Zad, while
what power level do these things go from everyday a bard seeks increasing renown within the College of
to exotic? Mac-Fuirmidh.
How do authorities regulate and use magic? How
do normal folks use magic and protect them- TELEPORTATION CIRCLES
selves from it?
The presence of permanent teleportation circles in
The answers to some questions suggest the answers major cities helps cement their important place in the
to others. For example, if spellcasters of low-level economy of a fantasy world. Spells such as plane shift,
spells are common, as in Eberron, then authorities and teleport, and teleportation circle connect with these
common folk are more likely to have access to and use circles, which are found in temples, academies, the
the results of such spells. Buying commonplace magic headquarters of arcane organizations, and prominent
isn't only possible, but also less expensive. People are civic locations. However, since every teleportation circle
more likely to keep well-known magic in mind, and to is a possible means of entry into a city, they're guarded
protect against it, especially in risky situations. by military and magical protection.

RESTRICTIONS ON MAGIC As you design a fantasy city, think about the
teleportation circles it might contain and which ones
Some civilized areas might restrict or prohibit the use adventurers are likely to know about. If the adventurers
of magic. Spellcasting might be forbidden without a commonly return to their home base by means of
license or official permission. In such a place, magic a teleportation circle, use that circle as a hook for
items and continual magical effects are rare, with plot developments in your campaign. What do the
protections against magic being the exception. adventurers do if they arrive in a teleportation circle and
find all the familiar wards disabled and guards lying
Some localities might prohibit specific spells. It could in pools of blood? What if their arrival interrupts an
be a crime to cast any spells used to steal or swindle, .argument between two feuding priests at the temple?
such as those that bestow invisibility or produce Adventure ensues!
illusions. Enchantments that charm or dominate others
are readily outlawed, since they rob their subjects of BRINGING BACK THE DEAD
free will. Destructive spells are likewise prohibited, for
obvious reasons. A local ruler could have a phobia about When a creature dies, its soul departs its body, leaves
a specific effect or spell (such as shapeshifting effects if the Material Plane, travels through the Astral Plane,
he or she were afraid of being impersonated) and enact and goes to abide on the plane where the creature's
a law restricting that type of magic. deity resides. If the creature didn't worship a deity, its
soul departs to the plane corresponding to its alignment.
SCHOOLS OF MAGIC Bringing someone back from the dead means retrieving
the soul from that plane and returning it to its body.
The rules of the game refer to the schools of magic
Enemies can take steps to make it more difficult for
(abjuration, illusion, necromancy, and so on), but it's a character to be returned from the dead. Keeping
the body prevents others from using raise dead or
up to you to determine what those schools signify in resurrection to restore the slain character to life.

your world. Similarly, a few class options suggest the A soul can't be returned to life if it doesn't wish to
be. A soul knows the name, alignment, and patron
existence of magic-using organizations in the world- deity (if any) of the character attempting to revive it and
might refuse to return on that basis. For example, if
bardic colleges and druid circles- which are up to you to the honorable knight Sturm Brightblade is slain and a
high priestess of Takhisis (god of evil dragons) grabs
flesh out. · his body, Sturm might not wish to be raised from the
dead by her. Any attempts she makes to revive him
You could decide that no formal structures like these automatically fail. If the evil cleric wants to revive Sturm
to interrogate him, she needs to find some way to trick
exist in your world. Wizards (and bards and druids) his soul, such as duping a good cleric into raising him
and then capturing him once he is alive again.
might be so rare that a player character learns from a

single mentor and never meets another character of the

same class, in which case wizards would learn their

school specialization without any formal training.

However, if magic is more common, academies can

be the embodiments of the schools of magic. These

institutions have their own hierarchies, traditions,

regulations, and procedures. For example, Materros

the necromancer could be a brother of the necromantic

CHAPTER 1 I A WORLD OF YOUR OWN

CREATING A CAMPAIGN

The world you create is the stage for the
adventures you set in it. You don't have to give more
thought to it than that. You can run adventures in
an episodic format, with the characters as the only
common element, and also weave themes throughout
those adventures to build a greater saga of the
characters' achievements in the world.

P lanning an entire campaign might seem like a
daunting task, but you don't have to plot out every
detail right from the start. You can start with the
basics, running a few adventures, and think about
larger plotlines you want to explore as the campaign
progresses. You're free to add as much or as little detail
a you wish.

The start of a campaign resembles the start of an
adventure. You want to jump quickly into the action,
how the players that adventure awaits, and grab
their attention right away. Give the players enough
information to make them want to come back week after

·eek to see how the story plays out.

START SMALL

\" hen you first start building your campaign, start
-mall. The characters need to know only about the
city, town, or village where they start the game, and
perhaps the nearby dungeon. You might decide that
the barony is at war with a nearby duchy, or that a
distant forest is crawling with ettercaps and giant
piders, and you should note these things. But at
the start of the game, the local area is enough to get
the campaign off the ground. Follow these steps to
create that local area:

1. CREATE A HOME BASE
ee the "S ettlements" section earlier in this chapter

;"or guidance on building this settlement. A small
·own or village at the edge of the wilderness serves

a fine home base in most D&D campaigns. Use
a la rger town or city if you want a campaign with

rban adventuring.

2. CREATE A LOCAL REGION

- ee "Mapping the Campaign" earlier in this chapter
:or guidance. Draw a map at province scale (1 hex=
l mile) with the home base near the center. Fill
n the area within a day's travel-about 25 to 30
:niles-of the home base. Pepper it with two to
:our dungeons or similar adventure locales.
.-ill area that size is likely to have one to three
additional settlements as well as the home base,
so give thought to them as well.

3. CRAFT A STARTING ADVENTURE

ingle dungeon makes a good first adventure
'or most campaigns. See chapter 3, "Creating
_ dventures," for guidance.

A home base provides a common starting
.ocation for the characters. This starting point
might be the village where they grew up or a
ci _- that attracted them from points beyond.

Or perhaps they begin the campaign in the dungeons Are you tied to any of the organizations or people
of an evil baron's castle where they've been locked up involved in the events that kick off the campaign? Are
for various reasons (legitimate or otherwise), throwing they friends or enemies?
them into the midst of the adventure.
Listen to the players' ideas, and say yes if you can.
For each of these steps, give the locations only as Even if you want all the characters to have grown up in
much detail as they need. You don't need to identify the starting town, consider allowing a recent arrival or
every building in a village or label every street in a large a transplant if the player's story is convincing enough.
city. If the characters start in the baron's dungeon , you'll Suggest alterations to a character's story so it better fits
need the details of this first adventure site, but you your world, or weave the first threads of your campaign
don't have to name all the baron's knights. Sketch out into that story.
a simple map, think about the surrounding area, and
consider whom the characters are most likely to interact CREATING A BACKGROUND
with early in the campaign. Most important, visualize
how this area fits into the theme and story you have in Backgrounds are designed to root player characters
mind for your campaign. Then start working on your in the world, and creating new backgrounds is a great
first adventure! way to introduce players to the special features of your
world. Backgrounds that have ties to particular cultures,
SET THE STAGE organizations, and historical events from your campaign
are particularly strong. Perhaps the priests of a certain
As you start to develop your campaign , you'll need to religion live as beggars supported by a pious populace,
fill in the players on the basics. For easy distribution, singing the tales of their deity's exploits to entertain
compile essential information into a campaign and enlighten the faithful. You could create a mendicant
handout. Such a handout typically includes the priest background (or modify the acolyte background)
following material: to reflect these qualities. It could include musical
instrument proficiency, and its feature probably involves
Any restrictions or new options for character creation, receiving hospitality from the faithful.
such as new or prohibited races.
Any information in the backstory of your campaign Guidelines for creating a new background are
that the characters would know about. If you have provided in chapter 9, "Dungeon Master's Workshop."
a theme or direction in mind for the campaign, this
information could include seeds hinting at that focus. CAMPAIGN EVENTS
• Basic information about the area where the characters
are starting, such as the name of the town, important Significant events in the history of a fantasy world tend
locations in and around it, prominent NPCs they'd toward immense upheavals: wars that pit the forces
know about, and perhaps rumors that point to trouble of good against evil in an epic confrontation, natural
that's brewing. disasters that lay waste to entire civilizations, invasions
of vast armies or extraplanar hordes, assassinations
Keep this handout short and to the point. Two pages of world leaders. These world-shaking events title the
is a reasonable maximum. Even if you have a burst of chapters of history.
creative energy that produces twenty pages of great
background material, save it for your adventures. Let In a D&D game, such events provide the sparks that
the players uncover the details gradually in play. can ignite and sustain a campaign. The most common
pitfall of serial stories without a set beginning, mfddle,
INVOLVING THE CHARACTERS and end is inertia. Like many television shows and
comic-book series, a D&D campaign runs the risk of
Once you've identified what your campaign is about, retreading the same ground long after the enjoyment's
let the players help tell the story by deciding how their gone.Just as actors or writers drift away from those
characters are involved. This is their opportunity to other mediums, so can players- the actors and writers
tie their characters' history and background to the of a D&D game. Games stagnate when the story
campaign, a nd a chance for you to determine how the meanders too long without a change in tone, when the
various elements of each character's background tie same villains and similar adventures grow tiresome and
into the campaign's story. For example, what secret has predictable, and when the world doesn't change around
the hermit character learned? What is the status of the the characters and in response to their actions.
noble character's family? What is the folk hero's destiny?
World-shaking events force conflict. They set new
Some players might have trouble coming up with events and power groups in motion. Their outcomes
ideas-not everyone is equally inventive. You can help change the world by altering the tone of the setting
spur their creativity with a few questions about their in a meaningful way. They chronicle the story of your
characters: world in big, bold print. Change- especially change that
occurs as a result of the characters' actions-keeps the
Are you a native, born and raised in the area? If so, story moving. If change is imperceptible, the actions
who's your family? What's your current occupation? of the characters lack significance. When the world
• Are you a recent arrival? Where did you come from? becomes reliable, it's time to shake things up.
Why did you come to this area?

CHAPTER I I A WORLD OF YOUR OWN

PuTTING EvENTS IN MoT-IO-N- - - - - - To get started , select a world-s haki ng event category
or roll on the World-Sha king Events table.
World-shaking events can happen at any time in
a campaign or story arc, but the biggest incidents WORLD-SHAKING EVENTS
naturally fall at the beginning, middle, and end
of a story. dlO Event

That placement reflects the structure of dramatic Rise of a leader or an era
stories. At the beginning of a story, something happens 2 Fall of a leader or an era
to shake the protagonists' world and spur them into 3 Cataclysmic disaster
action. The characters take action to resolve their 4 Assault or invasion
problems, but other forces oppose them. As they reach a 5 Rebellion , revolution , overthrow
significant milestone toward their goal, a major conflict 6 Extinction or depletion
disrupts the characters' plans, shaking their world 7 New organization
again; failure seems imminent. At the end of the story, 8 Discovery, expan sion, inve ntion
they succeed or fail , and the world is shaken again by 9 Prediction, omen, prophecy
the way the characters changed it for good or ill. 10 Myth and legend

At the beginning of a D&D campaign , world-shaking 1-2. RISE OR FALL OF A LEADER OR AN ERA
events create instant adventure hooks and affect the
characters' lives directly. In the middle, they make great Eras are often defined by the prominent leaders,
turning points as the characters' fortunes reverse- innovators, and tyrants of th e day. These people change
rising after a defeat or falling after a victory. Near the world and etch their signatures indelibly on the
the end of a campaign, such events serve as excellent pages of history. When they rise to power, they s hape
climactic episodes with far-reaching effects. They might the time and place where they live in monumental ways.
even occur after the story has ended, as a result of the When they fall from power or pass away, the ghost of
characters' actions. their presence lingers.

WHEN NoT To SHAKE IT UP - - - - - Determine the kind of leader th at influences the new
or passing era. You can choose the type of leader or
In constructing a narrative, beware of "false action," determine one randomly using the Leader Types table.
or action for its own sake. False action doesn't move
a story forward , engage characters, or cause them to LEADER TYPES
change. Many action movies suffer from false action, in
which car chases, gunfights, and explosions abound but dG Leader Type
do little more than inconvenience the characters and
eventually bore the audience with their repetition and Political
dearth of meaningful stakes. Some D&D campaigns fall 2 Religious
into the same trap, stringing world-spanning disasters 3 Military
together one after another with little impact on the 4 Crime/underworld
characters or the world. Thus, it's probably not in the 5 Artjcu ltu re
DM's best interest to reorder the world every single time 6 Philosophyjlearningjmagic
there's a lull in the action, lest world-shaking events
become ordinary. Political leaders are monarchs, nobles , and chiefs.
Religious leaders include deities' avatars, high priests ,
As a general rule, a campaign can sustain up to and messiahs, as well as those in cha rge of monasteries
three large-scale, world-shaking events: one near the and leaders of influential religious sects. Major military
beginning, one near the middle, and one near the leaders control the armed forces of countries. They
end. Use as many small-scale events that disturb the include military dictators, warlords, and the heads of
bounded microcosms of towns, villages, tribes, fiefs, a ruler's war council. Minor military leaders include
duchies, provinces, and so forth as you like. Every the heads of local militias, ga ngs, and other martial
significant event shakes someone's ·world, after all, no organizations. At the broadest scale, a criminal or
matter how small that world might be. Let unexpected underworld leader wields power th rough a network of
a nd terrible events regularly afflict the world's smaller spies, bribes, and black-market trade . On the smallest
territories, but unless your story demands it, save the scale, these are local gang bosses, pirate captains, and
large-scale map-spanning events for the biggest, most brigands. A leader in art or culture is a virtuoso whose
important moments of your campaign. work reflects the spirit of the age and changes the way
people think: a prominent playwright, bard, or court fool
WORLD-SHAKING EVENT-S - - - - - - in whose words, art, or performance the people perceive
universal truth . On a smaller scale, this might be an
Yo u can use this section for ideas and inspiration to influential local poet, minstrel, satirist, or sculptor.
expand on world-shaking events already occurring (or A major leader in philosophy, learning, or magic is
oon to occur) within your world. Alternatively, you can a genius philosopher, a counselor to emperors, an
roll on the tables below to randomly generate an event enlightened thinker, the head of the highest institution
to inspire your imagination. The attempt to justify a of learning in the world, or an archmage. A minor leader
random result can reveal unforeseen possibilities.

CHAPTER 1 I A WORLD OF YOUR OWN ?..7

might be a local sage, seer, hedge wizard, wise elder, Name one person or group that plotted against
or teacher. this leader.
Name three things for which this leader will be
Rise ofa Leader, Beginning ofan Era. In dramatic remembered.
stories, a new leader's rise often comes at the end of
a period of struggle or turmoil. Sometimes it's a war 3. CATACLYSMIC DISASTER
or uprising; other times it's an election, the death of a
tyrant, a prophecy fulfilled, or the appointment of a hero. Earthquake, famin e, fire, plague, flood- disasters on a
Conversely, the new leader might be a tyrant, a fiend , or grand scale can eradicate whole civilizations without
black-hearted villain, and the era that just ended could warning. Natural (or magical) catastrophes redraw
have been one of peace, tranquility, and justice. maps, destroy economies, and alter worlds. Sometimes
the survivors rebuild from the ruins. The Great Chicago
A new leader shakes the foundations of your campaign Fire, for instance, provided a n opportunity to rebuild
world and begins a new era in the selected region. How the city according to a modern plan. Most of the time
does this person or this era begin to affect the world? the disaster leaves only ruins- buried under ash like
Here are several things to consider when determining Pompeii, or sunk beneath the waves like Atlantis.
the leader's impact on the world:
You ca n choose the cataclysm or determine one
• Name one thing that has been consistently true about randomly us ing the Cataclysmic Disasters table.
the world, which is now no longer true due to this
leader's rise or influence. This is the biggest change CATACLYSMIC DISASTERS
that occurs when the new leader takes power and
becomes the prevailing trait that defines the era, the dlO Cataclysmic Disaster
characteristic for which it is remembered.
Earthqua ke
• Name the person (or people) whose death, defeat, or
loss opened the door for this leader to take power. 2 Faminef drought
This might be a military defeat, the overthrow of 3 Fire
old ideas, a cultural rebirth, or something else. Who
died, lost, or was defeated? What weren't they willing 4 Flood
to compromise? Was the new leader complicit in
the death, defeat, or loss, or was the opportunity 5 Plaguefd isease
serendipitous? 6 Rain of fire (meteoric impact)

• Despite the leader's virtues, one flaw in particular 7 Storm (hurricane, tornado, tsunami)
outrages a certain segment of the populace. What
is that flaw? What person or group of persons will 8 Volcanic eruption
do their utmost to foil this leader because of it? 9 Magic gone awry or a planar wa rp
Conversely, what is this leader's greatest virtue, and
who rises to the leader's defense because of it? 10 Divine judgment

• Who believes in this leader now, but still retains Some of the disasters on the table might not make
doubts? This is someone close to the leader, who has immediate sense in the context of your campaign
the leader's trust and knows his or her secret fears, world. A flood in the desert? A volcanic eruption on
doubts, or vices. grassy plains? If you randomly determine a disaster
that conflicts with your setting, you can reroll, but the
FaJJ ofa Leader, End ofan Era. All that begins must challenge ofjustifying the catastrophe can produce
end. With the fall of kings and queens, the maps of the interesting results.
world are redrawn. Laws change, new customs become
all the rage, and old ones fall out of favor. The attitude With two exceptions, the disasters on the table
of the citizens toward their fallen leader shifts subtly at resemble those that affect our own world. Think
first and then changes dramatically as they look back or of planar warps and magic gone awry like nuclear
reminisce about the time before . incidents; they're big events that unn atu ra lly alter
the land and its people. For example, in the Eberron
The fallen leader might have been a benevolent campa ign setting, a magical catastrophe lays waste
ruler, an influential citizen, or even an adversary to the to an entire country, transforming it into a hostile
characters. How does the death of this person affect wasteland and ending the Las t War.
those formerly under his or her influence? ijere are
several things to consider when determining the effects Divine judgment is something else entirely. This
of a leader's passing: disaster takes whatever form you want, but it's a lways a
big, bold, uns ubtle sign of a deity's displeasure.
• Name one positive change that the leader brought to
his or her domain or sphere of influence. Does that You might decide to wipe a town, region, or nation off
change persist after the leader's death? the map of your world. A disaster ravages the land and
State the general mood or attitude of the people under effectively eliminates a place the characters once knew.
this person's power. What important fact didn't they Leave one or two survivors to tell the characters what
realize about this person or his or her reign, which happened , and ensure that the characters feel the depth
will later come to light? of the catastrophe. What are the ongoing effects of this
Name one person or group that tries to fill the leader's cataclysm? The following points can help you define the
shoes in the resulting power vacuum. nature and consequences of the disaster:

CHAPTER 1 I A WORLD OF YOUR OWN • Decide what caused this cataclysm and where it
originated.

• An omen presaged this event, or a series of signs and
omens. Describe the omen in detail.

• Describe or name the creature that warned the Now consider these other aspects of the conflict:
populace about the oncoming disaster. Who listened?
ho were the lucky (or unlucky) ones who survived? Name one element of the invasion or assault that the ·
defenders didn't expect or couldn't repel.
• Describe what the area looks like after the disaster, in Something happened to the first defenders who stood
contrast to how it looked before. against the invasion or assault-something no one
wants to talk about. What was it?
~. ASSAULT OR INVASION • The attackers or invaders had a motive for their
action that wasn't obvious or understood at first.
ne of the most common world-shaking events, an What was it?
Yasion occurs when one group forcibly takes over • Who turned traitor, and at what point did they turn?
.another, usually by military strength, but also by Why did they do it? Did an attacker try to stop the
.nfi ltration and occupation. incursion, or did a prominent defender throw in with
An assault differs from an invasion in that the the invaders?
acking force isn't necessarily interested in occupation
r taking power. On the other hand, an assau lt might be 5. REBELLION, REVOLUTION, OVERTHROW
e first step of an invasion.
Regardless of the scale, a world-shaking assault or Dissatisfied with the current order, a person or group
vasion stands out because its repercussions change of people overturns the dominant regime and takes
e characters' world, and its effects echo long after the over-or fails to take over. Regardless of the result, a
.nitial attack or takeover. revolution (even an attempted one) can shape the destiny
Imagine that part of your campaign world is attacked of nations.
r invaded. Depending on the current scale of your
ampaign, the area might be as small as a section The scale of a revolution need not involve the common
of a city or as large as a continent, world, or plane of masses against the nobility. A revolution can be as small
ex istence . as a merchants' guild revolting against its leadership
Define the aggressor and whether it represents a or a temple overthrowing its priesthood in favor of a
..mown enemy or a previously unknown adversary. new creed. The spirits of the forest might attempt to
-elect a threat that already poses a danger to the area overthrow the forces of civilization in a nearby city that
_·ou've chosen, or use the Invading Forces table to cut down trees for timber. Alternatively, the scale can be
determine the aggressor. as dramatic as humanity rising to overthrow the gods.

I NVADI NG FoRCEs CHAPTER 1 I A WORLD OF YOUR OWN

d8 Invading Force

(Video) How To Win Friends And Influence People Audiobook

A criminal enterprise

2 Monsters or a unique monster

3 A planar threat

4 A past adversary reawakened, reborn, or resurgent

5 A splinter faction

6 A savage tribe

7 A secret society

8 A traitorous ally

29

Imagine that part of your campaign world erupts in
revolution. Pick a power group in your current campaign
and name (or invent) a group that opposes it, fomenting
revolution. Then let the following points help you flesh
out the conflict:

Name three things the rebels want or hope to achieve.
• The rebels achieve a victory against those they wish

to overthrow, even if it's a pyrrhic victory. Which of
their three goals do they achieve? How long is this
achievement likely to last?
State the cost exacted upon the old order after its
fall from power. Does anyone from the former power
group remain in power during the next regime? If the
old order remains in power, describe one way that its
leaders punish the revolutionaries.
• One of the rebellion's prominent leaders-in some
respects the face of the revolution- was driven by a
personal reason for his or her part in events. Describe
this person and state the true reason he or she led the
rebellion.
• What problem existed before the revolution that
persists in spite of it?

6. EXTINCTION OR DEPLETION

Something that once existed in the campaign world
is gone. The lost resource might be a precious metal,
a species of plant or animal that held an important
place in the local ecology, or an entire race or culture of
people. Its absence causes a chain reaction that affects
every creature that uses or relies on it.

You can eliminate a people, place, or thing that
previously existed in a certain location or area in your
campaign world. On a small scale, the last of a family
. dynasty passes away or a once-thriving mining town
in the region dries up and becomes a ghost town. On a
grand scale, magic dies, the last dragon is slain, or the
final fey noble departs the world.

What is gone from the world-or the region of the
world you've chosen- that once existed there? If the
answer isn't immediately evident, consult the Extinction
or Depletion table for ideas.

EXTINCTION OR DEPLETION

d8 Lost Resource

A kind of animal (insect, bird, fish, livestock)

2 Habitable land

3 Magic or magic-users (all magic, or specific kinds or

schools of magic)
4 A mineral resource (gems, metals , ores)

5 A type of monster (unicorn, manticore , dragon)

6 A people (family line, clan, culture, race)
7 A kind of plant (crop, tree, herb, forest)

8 A waterway (river, lake , ocean)

Then consider these additional questions:

Name a territory, race, or type of creature that relied
on the thing that was lost. How do they compensate?
How do they attempt to substitute for what was lost?

Who or what is to blame for the loss? 8. DISCOVERY, EXPANSION, INVENTION
Describe an immediate consequence of the loss.
Forecast one way that the loss impacts or changes Discoveries of new lands expand the map and change
the world in the long term. Who or what suffers the the boundaries of empires. Discoveries of new magic
most as a result of the loss? Who or what benefits the or technology expand the boundaries of what was once
most from it? thought possible. New resources or archaeological finds
create opportunity and wealth and set prospectors and
7. NEW ORGANIZATION power groups in motion to vie for their control.

The foundation of a new order, kingdom, religion, A new discovery-or rediscovery-can impact your
society, cabal, or cult can shake the world with its campaign world in a meaningful way, shaping the
actions, doctrine, dogma, and policies. On a local course of history and the events of the age. Think of this
scale, a new organization contends with existing power discovery as a big adventure hook or series of hooks.
groups, influencing, subverting, dominating, or allying This is also an opportunity to create a unique monster,
with them to create a stronger base of power. Large item, god, plane, or race for your world. As long as the
and powerful organizations can exert enough influence discovery matters, it doesn't have to be wholly original,
to rule the world. Some new organizations benefit the just flavored for your campaign.
populace, while others grow to threaten the civilization
they once protected. A discovery is particularly impressive when the
adventurers in your campaign are the ones who
Perhaps an important new organization arises in one make it. If they discover a new mineral with magical
part of your world. It could have humble or auspicious properties, map a new land that's eminently suitable
beginnings, but one thing is certain: it is destined to for colonization, or uncover an ancient weapon with
change the world as long as it progresses along its the power to wreak devastation on your world, they
present course. Sometimes an organization's alignment are likely to set major events in motion. This gives
is apparent from inception, but its morality can remain the players the opportunity to see exactly how much
ambiguous until its doctrines, policies, and traditions influence their actions have on your world.
are revealed over time. Choose the type of organization,
or use the New Organizations table to generate ideas. Decide on the type of discovery that is made or use
the Discoveries table to generate ideas.
NEW ORGANIZATIONS
DISCOVERIES
dlO New Organization
dl 0 Discovery
Crime syndicatejbandit confederacy
Ancient ruinflost city of a legendary race
2 Guild (masons, apothecaries, goldsmiths)
2 Animalfmonsterfmagical mutation
3 Magical circlefsociety
3 lnventionftechnologyjmagic (helpful, destructive)
4 Military/knightly order
5 New family dynastyftribejclan 4 New (or forgotten) god or planar entity

6 Philosophy/discipline dedicated to a principle or ideal 5 New (or rediscovered) artifact or religious relic

7 Realm (village, town, duchy, kingdom) 6 New land (island, continent, lost wo rld , demiplane)
8 Religionjsectjdenomination
7 Otherworldly object (planar portal, alien spacecraft)
9 Schoolfuniversity
8 People (race, tribe, lost civilization , colony)
10 Secret societyfcultfcabal
9 Plant (miracle herb, fungal parasite, sentient plant)
Then consider some or all of the following options:
10 Resource or wealth (gold, gems, mithral)
The new order supplants a current power group in
the world, gaining territory, converts, or defectors and Once you have determined the type of discovery, flesh
reducing the previous power group's numbers. Who or it out by deciding exactly what it is, who discovered
what does the foundation of this new order supplant? it, and what potential effect it could have on the
The new order appeals to a specific audience. Decide world. Ideally, previous adventures in your campaign
whether this order attracts a certain race, social class, will help you fill in the blanks, but also keep the
or character class. following in mind:
The leader of this new order is known for a particular
quality valued by his or her followers. Elaborate on This discovery benefits a particular person, group, or
why they respect him or her for this quality, and faction more than others. Who benefits most? Name
what actions this leader has taken to retain the three benefits they stand to gain from this discovery.
followers' support. This discovery directly harms another person, group,
A rival group opposes the foundation of this new or faction. Who is harmed the most?
organization. Choose an existing power group from • This discovery has consequences. Name three
your campaign to oppose the new organization, or repercussions or side effects. Who ignores the
create one from the categories on the table. Decide repercussions?
why they oppose the new group, who leads them, and Name two or three individuals or factions struggling
what they plan to do to stop their rival. to possess or control this discovery. Who is likely to
win? What do they stand to gain, and what are they
willing to do to control the discovery?

CHAPTER l I A WORLD OF YOUR OWN 3l

9. PREDICTION' OMEN' PROPHECY The rise or fall of a leader or era is the death or
birth of a god , or the end of an age or the world. A
Sometimes the foretelling of a world-shaking event cataclysmic disaster is a world-drowning deluge, an ice
becomes a world-shaking event: an omen that predicts age, or a zombie apocalypse. An assault or invasion is
the fall of empires, the doom of races, and the end a world war, a world-spanning demonic incursion, the
of the world. Sometimes an omen points to change awakening of a world-threatening monster, or the final
for the good, such as the arrival of a legendary hero clash between good and evil. A rebellion dethrones a
or savior. But the most dramatic prophecies warn of god or gods, or raises a new force (such as a demon
future tragedies and predict dark ages. Unlike other lord) to divinity. A new organization is a world-spanning
world-shaking events, the outcome doesn't happen empire or a pantheon of new gods. A discovery is a
immediately. Instead, individuals or factions strive to doomsday device or a portal to eldritch dimensions
fulfill or avert the prophecy-or shape the exact way it where world-shattering cosmic horrors dwell.
will be fulfilled- according to how it will affect them.
The prophecy's helpers or hinderers create adventure TRACKING TIME
hooks in the campaign by the actions they take. A
prophecy should foretell a big event on a grand scale, A calendar lets you record the passage of time in the
since it will take time to come true (or be averted). campaign. More importantly, it lets you plan ahead for
the critical events that shake up the world. For simple
Imagine that a world-shaking prophecy comes to light. time tracking, use a calendar for the current year in
If events continue on their present course, the prophecy the real world. Pick a date to indicate the start of the
will come true and the world will change dramatically campaign, and make note of the days that adventurers
as a result. Don't shy away from making this prophecy spend on their travels and various activities. The
both significant and alarming, keeping in mind the calendar tells you when the seasons change and
following points: the lunar cycle. More importantly, you can use your
calendar to track important festivals and holidays, as
Create a prophecy that foretells a major change to well as key events that shape your campaign.
the campaign world. You can build one from scratch
using ideas from the current campaign or randomly This method is a good starting point, but the calendar
determine a world-shaking event and fl~sh out of your world need not follow a modern calendar. If you
the details. want to customize your calendar with details unique to
Write a list of three or more omens that will occur your world, consider these types of features.
before the prophecy comes to pass. You can use
events that have already occurred in the campaign so THE BASICS
that the prophecy is closer to being fulfilled . The rest A fantasy world's calendar doesn't have to mirror the
are events that might or might not happen, depending modern one, but it can (see "The Calendar of Harptos"
on the actions of the characters. sidebar for an example). Do the weeks of a month have
Describe the person or creature that discovered names? What about specific days of each month, like the
the prophecy and how it was found. What did this ides, nones, and calends of the Roman calendar?
creature gain by revealing it? What did this person
lose or sacrifice? PHYSICAL CYCLES
• Describe the individual or faction that supports the Determine when the seasons fall , marked by the
prophecy and works to ensure its fulfillment, and the solstices and equinoxes. Do the months correspond
one that will do all in its power to avert the prophecy. to the phases of the moon (or moons)? Do strange
What is the first step each takes? Who suffers for and magical effects occur at the same time as these
their efforts? phenomena?
One part of the prophecy is wrong. Choose one of the
omens you listed or one of the details you created for RELIGIOUS OBSERVANCES
the world-shaking event that the omen predicts. The Sprinkle holy days throughout your calendar. Each
chosen omen is false, and if applicable, its opposite is significant deity in your world should have at least one
true instead. holy day during the year, and some gods' holy days
correspond to celestial phenomena such as new moons
10. MYTH AND LEGEND or equinoxes. Holy days reflect the portfolio of a deity (a
god of agriculture is honored in the harvest season) or
If wars, plagues, discoveries, and the like can be called significant events in the history of the deity's worship,
regular world-shaking events, mythic events exceed such as the birth or death of a holy person, the date of
and surpass them. A mythic event might occur as the a god's manifestation, the accession of the current high
fulfillment of an ancient or long-forgotten prophecy, or it priest, and so on.
might be an act of divine intervention.
Certain holy days are civic events, observed by every
Once again, your current campaign probably provides citizen of a town where a god's temple can be found.
a few ideas for the shape of this event. If you need Harvest festivals are often celebrations on a grand
inspiration, roll a d8 on the World-Shaking Events table, scale. Other holy days are important only to people
instead of the normal dlO. Address the bullet-point particularly devoted to a single deity. Still others are
notes for that disaster, but magnify the result to the observed by priests, who perform private rites and
grandest scale you can imagine. sacrifices inside their temples on certain days or specific

CHAPTER 1 j A WORLD OF YOUR OWN

times of day. And some holy days are local, observed by The world of the Forgotten Realms uses the Calendar of
dle fa ithful of a specific temple. Harptos, named after the long-dead wizard who invented
it. Each year of 365 days is divided into twelve months of
Give some thought to how priests and common folk thirty days each, which roughly correspond to months in the
-elebrate holy days. Going into a temple, sitting in a real-world Gregorian calendar. Each month is di vided into
pew, a nd listening to a sermon is a mode of worship three tendays. Five special holidays fall between the months
"oreign to most fantasy religions. More commonly, and mark the seasons. Another special holiday, Shieldmeet,
celebrants offer sacrifices to their gods. The faithful is inserted into the calendar after Midwinter every four years,
bri ng animals to the temple to be slaughtered or much like leap yea rs in the modern Gregorian calendar.

urn incense as an offering. The wealthiest citizens Month Name Common Name
ori ng the largest animals, to flaunt their wealth and
2 Hammer Deepwinter
emonstrate their piety. People pour out libations at the 3
graves of their ancestors. They spend a ll-night vigils in 4 Annual holiday: Midwinter
darkened shrines or enjoy splendid feasts celebrating a
god's bounty. 5 Quadrennial holiday: Shield meet
6
C IVIC OBSERVANCES 7 Alturiak The Claw of Winter
Holy days provide the majority of the special
celebrations in most calendars, but local or national 8 Ches The Claw of the Sunsets
:estivals account for many others. The birthday of a 9
:nonarch, the anniversary of a great victory in a war, Tarsakh The Claw of the Storms
craft festivals , market days, and similar events all 10
;>rovide excuses for local celebrations. 11 Annual holiday: Greengrass

f ANTASTIC EVENTS 12 Mirtul The Melting
-ince your setting is a fantasy world and not a mundane
::nedieval society, add in a few events of an obviously Kythorn The Time of Flowers
magical nature. For example, perhaps a ghostly castle
appears on a certain hill on the winter solstice every Flamerule Summertide
_·ea r, or every third full moon fills lycanthropes with a
particularly strong bloodlust. Also, the thirteenth night Annual holiday: Midsummer
of every month could mark the ghostly wanderings of a
ong-forgotten nomadic tribe. Eleasias Highsun

Extraordinary events, such as the approach of a comet Ele int The Fading
or a lunar eclipse, make good adventure elements, and
:ou can drop them in your calendar wherever you want. Annual holiday: Highharvesttide
Your calendar can tell you when there's a full moon for
a lunar eclipse, but you can always fudge the date for a Marpenoth Leaffall

articular effect. Uktar The Rotting

ENDING A CAMPAIGN Annual holiday: The Feast of the Moon

A campaign's ending should tie up all the threads of Nightal The Drawing Down
beginning and middle, but you don't have to take a

campaign all the way to 20th level for it to be satisfying.
.\'rap up the campaign whenever your story reaches its
atural conclusion.

:Make sure you allow space and time near the end
of your campaign for the characters to finish up any
personal goals. Their own stories need to end in
a atisfying way, just as the campaign story does.
dea lly, some of the characters' individual goals will be
:ulfilled by the ultimate goal of the final adventure. Give
ha racters with unfinished goals a chance to finish them
before the very end.

Once the campaign has ended, a new one can begin.
f you intend to run a new campaign for the same group
of players, using their previous characters' actions as
r.he basis of legends gives them immediate investment in
dle new setting. Let the new characters experience how
me world has changed because of their old characters.
n the end, though, the new campaign is a new story
·ith new protagonists. They shouldn't have to share the
-potlight with the heroes of days gone by.

CHAPTER l I A WORLD OF YOUR OWN 33

PLAY STYLE only after both the characters and the lords have come
to terms with their differing outlooks and agendas.
By building a new world (or adopting an existing one) This style of gaming is deep, complex, and challenging.
and creating the key events that launch your campaign, The focus isn't on combat but on negotiations, political
you determined what your campaign is about. Next, you maneuverings, and character interaction. A whole game
have to decide how you want to run your campaign. session might pass without a single attack roll.

What's the right way to run a campaign? That depends In this style of game, the NPCs are as complex and
on your play style and the motivations of your players. richly detailed as the adventurers, although the focus
Consider your players' tastes, your strengths as a lies on motivation and personality, not game statistics.
DM, table rules (discussed in part 3), and the type of Expect long digressions from each player about what
game you want to run. Describe to the players how you his or her character does, and why. Going to a temple to
envision the game experience and let them give you ask a priest for advice can be as important an encounter
input. The game is theirs, too. Lay that groundwork as fighting orcs. (And don't expect the adventurers to
early, so your players can make informed choices and fight the orcs at all unless they are motivated to do
help you maintain the type of game you want to run. so.) A character will sometimes take actions against
the player's better judgment, because "that's what the
Consider the following two exaggerated examples of character would do."
play style.
Since combat isn't the focus, game rules take a back
HACK AND SLASH seat to character development. Ability check modifiers
The adventurers kick in the dungeon door, fight the and skill proficiencies take precedence over combat
monsters, and grab the treasure. This style of play is bonuses. Feel free to change or ignore rules to fit the
straightforward, fun, exciting, and action-oriented. The players' roleplaying needs, using the advice presented in
players spend relatively little time developing personas part 3 of this book.
for their characters, roleplaying noncombat situations,
or discussing anything other than the immediate SOMETHING IN BETWEEN
dangers of the dungeon. The style of play in most campaigns falls between these
two extremes. There's plenty of action, but the campaign
In such a game, the adventurers face clearly evil offers an ongoing storyline and interaction between
monsters and opponents and occasionally meet clearly characters as well. Players develop their characters'
good and helpful NPCs. Don't expect the adventurers motivations and relish the chance to prove their skills
to anguish over what to do with prisoners, or to debate in combat. To maintain the balance, provide a mixture
whether it's right or wrong to invade and wipe out a of roleplaying encounters and combat encounters. Even
bugbear lair. Don't track money or time spent in town. in a dungeon setting, you can present NPCs that aren't
Once they've completed a task, send the adventurers meant to be fought but rather helped out, negotiated
back into the action as quickly as possible. Character with, or just talked to.
motivation need be no more developed than a desire to
kill monsters and acquire treasure. Think about your preferred style of play by
considering these questions:
lMMERSIVE STORYTELLING
Waterdeep is threatened by political turmoil. The • Are you a fan of realism and gritty consequences, or
adventurers must convince the Masked Lords, the city's are you more focused on making the game seem like
secret rulers, to resolve their differences, but can do so an action movie?

A WORLD TO EXPLORE • Do you want the game to maintain a sense of medieval
fantasy, or do you want to explore alternate time lines
Much of a campaign involves the adventurers traveling from or modern thinking?
place to place, exploring the environment, and learning Do you want to maintain a serious tone, or is humor
about the fantasy world . This exploration can take place in your goal?
any environment, including a vast wilderness, a labyrinthine
• Even if you are serious, is the action lighthearted
dungeon, the shadowy passages of the Underdark, the or intense?

crowded streets of a city, and the undulating waters of • Is bold action key, or do the players need to be
thoughtful and cautious?
the sea. Determining a way around an obstacle, finding a Do you like to plan thoroughly in advance, or do you
prefer improvising on the spot?
hidden object, investigating a strange feature of a dungeon ,
• Is the game full of varied D&D elements, or does it
deciphering clues, solving puzzles, and bypassing or center on a theme such as horror?

disabling traps can all be part of exploration. • Is the game for all ages, or does it involve
mature themes?
Sometimes exploration is an incidental part of the game. Are you comfortable with moral ambiguity, such as
allowing the characters to explore whether the end
For instance, you might gloss over an unimportant journey justifies the means? Or are you happier with straight-
forward heroic principles, such as justice, sacrifice,
by telling the players that they spend three uneventful days and helping the downtrodden?

on the road before moving along to the next point of interest.

Other times exploration is the focus, a chance to describe

a wondrous part of the world or story that increases the

players' feeling of immersion. Similarly, you should consider

playing up exploration if your players enjoy solving puzzles,

finding their way around obstacles, and searching dungeon ,.

corridors for secret doors.

CHAPTER 1 I A WORLD OF YOUR OWN
34

CHARACTER NAMES A campaign about confronting the inevitability of
mortality, whether embodied in undead monsters or
Part of your campaign style has to do with naming expressed through the death of loved ones.
characters. It's a good idea to establish some ground A campaign revolving around an insidious evil,
rules with your players at the start of a new campaign. whether dark gods, monstrous races such as the
In a group consisting of Sithis, Travok, Anastrianna, yuan-ti, or creatures of unknown realms far removed
and Kairon, the human fighter named Bob II sticks out, from mortal concerns. As heroes confront this evil ,
especially when he's identical to Bob I, who was killed they must face the selfish, cold tendencies of their own
by kobolds. If everyone takes a lighthearted approach kind as well.
to names, that's fine. If the group would rather take the A campaign featuring troubled heroes who confront
characters and their names a little more seriously, urge not only the savagery of the bestial creatures of the
Bob's player to come up with a more appropriate name. world, but also the beast within- the rage and fury
that lies in their own hearts.
Player character names should match each other A campaign exploring the insatiable thirst for power
in flavor or concept, and they should also match the and domination, whether embodied by the hosts of the
flavor of your campaign world-so should the nonplayer Nine Hells or by humanoid rulers bent on conquering
characters' names and place names you create. Travok the world.
and Kairon don't want to undertake a quest for Lord
Cupcake, visit Gumdrop Island, or take down a crazy With a theme such as "confrontation with mortality,"
wizard named Ray. you can craft a broad range of adventures that aren't
necessarily connected by a common villain. One
CONTINUING OR adventure might feature the dead bursting from their
graves and threatening to overwhelm a whole town.
EPISODIC CAMPAIGNS In the next adventure, a mad wizard creates a flesh
golem in an effort to revive his lost love. A villain could
The backbone of a campaign is a connected series go to extreme lengths to achieve immortality to avoid
of adventures, but you can connect them in two confronting its own demise. The adventurers might
different ways. help a ghost accept death and move on, or one of the
adventurers might even become a ghost!
In a continuing campaign, the connected adventures
share a sense of a larger purpose or a recurring VARIATIONS ON A THEME
theme (or themes). The adventures might feature
returning villains, grand conspiracies, or a single Mixing things up once in a while allows your players
mastermind who's ultimately behind every adventure to enjoy a variety of adventures. Even a tightly themed
of the campaign. campaign can stray now and then. If your campaign
heavily involves intrigue, mystery, and roleplaying, your
A continuing campaign designed with a theme and players might enjoy the occasional dungeon crawl-
a story arc in mind can feel like a great fantasy epic. especially if the tangent is revealed to relate to a larger
The players derive the satisfaction of knowing the plot irr the campaign. If most of your adventures are
actions they take during one adventure matter in the dungeon expeditions, shift gears with a tense urban
next. Plotting and running that kind of campaign can mystery that eventually leads the party into a dungeon
be demanding on the DM, but the payoff is a great and crawl in an abandoned building or tower. If you run
memorable story. horror adventures week after week, try using a villain
who turns out to be ordinary, perhaps even silly. Comic
An episodic campaign, in contrast, is like a television relief is a great variation on almost any D&D campaign,
show where each week's episode is a self-contained though players usually provide it themselves.
story that doesn't play into any overarching plot. It
might be built on a premise that explains its nature: the TIERS OF PLAY
player characters are adventurers-for-hire, or explorers
venturing into the unknown and facing a string of As characters grow in power, their ability to change the
unrelated dangers. They might even be archaeologists, world around them grows with them. It helps to think
venturing into one ancient ruin after another in search ahead when creating your campaign to account for this
of artifacts. An episodic game like this lets you create change. As the characters make a greater impact on the
adventures-or buy published ones- and drop them into world, they face greater danger whether they want to
your campaign without worrying about how they fit with or not. Powerful factions see them as a threat and plot
the adventures that came before and follow after. against them, while friendly ones court their favor in
hopes of striking a useful alliance.
CAMPAIGN THEME
The tiers of play represent the ideal milestones for
A theme in a campaign, as in a work of literature, introducing new world-shaking events to the campaign.
expresses the deeper meaning of a story and the As the characters resolve one event, a new danger
fundamental elements of human experience that the arises or the prior trouble transforms into a new threat
story explores. Your campaign doesn't have to be a work in response to the characters' actions. Events.need to
of literature, but it can still draw on common themes grow in magnitude and scope, increasing the stakes and
that lend a distinctive flavor to its stories. Consider drama as the characters become increasingly powerful.
these examples:

CHAPTER I I A WORLD OF YOUR OWN

This approach also allows you to break your design LEVELS 11-16: MASTERS OF THE
work down into smaller pieces. Create material such
as adventures, NPCs, maps, and so on for one tier at REALM
a time. You only need to worry about the details of the
next tier as the characters approach it. Even better, as By 11th level, characters are shining examples of
the campaign takes unexpected turns in response to the courage and determination-true paragons in the world,
players' choices, you don't have to worry about redoing set well apart from the masses. At this tier, adventurers
much work. are far more versatile than they were at lower levels, and
they can usually find the right tool for a given challenge.
LEVELS 1- 4: LOCAL HEROES
Dedicated spellcasters gain access to 6th-level spells
Characters in this tier are still learning the range of at 11th level, including spells that completely change
class features that define them, including their choice the way adventurers interact with the world. Their big,
of specialization. But even 1st-level characters are flashy spells are significant in combat- disintegrate ,
heroes, set apart from the common people by natural blade barrier, and heal, for example- but behind-the-
characteristics, learned skills, and the hint of a greater scenes spells such as word ofrecall, find the path,
destiny that lies before them. contingency, teleport, and true seeing alter the way
players approach their adventures. Each spell level after
At the start of their careers, characters use 1st- that point introduces new effects with an equally large
a nd 2nd-level spells and wield mundane gear. The impact. The adventurers find rare magic items (and very
magic items they find include common consumable rare ones) that bestow similarly powerful abilities.
items (potions and scrolls) and a very few uncommon
permanent items. Their magic can have a big impact in The fate of a nation or even the world depends on
a single encounter, but it doesn't change the course of an momentous quests that such characters undertake.
adventure. Adventurers explore uncharted regions and delve into
long-forgotten dungeons, where they confront terrible
The fate of a village might hang on the success or masterminds of the lower planes, cunning rakshasas
failure of low-level adventurers, who trust their lives and beholders, and hungry purple worms. They might
to their fledgling abilities. These characters navigate encounter and even defeat a powerful adult dragon
dangerous terrain and explore haunted crypts, where that has established a lair and a significant presence in
they can expect to fight savage orcs, ferocious wolves, the world.
giant spiders, evil cultists, bloodthirsty ghouls, and
hired thugs. If they face even a young dragon, they're At this tier, adventurers make their mark on the
better off avoiding a fight. world in a variety of ways, from the consequences of
their adventures to the manner in which they spend
LEVELS 5-10: HEROES OF THE REALM their hard-won treasure and exploit their well-deserved
reputations. Characters of this level construct fortresses
By the time they reach this tier, adventurers have on land deeded them by local rulers. They found guilds,
mastered the basics of their class features, though they temples, or martial orders. They take on apprentices
continue to improve throughout these levels. They have or students of their own. They broker peace between
found their place in the world and have begun to involve nations or lead them into war. And their formidable
themselves in the dangers that surround them. reputations attract the attention of very powerful foes.

Dedicated spellcasters learn 3rd-level spells at the LEVELS 17-20: MASTERS OF THE
s tart of this tier. Suddenly characters can fly, damage
large numbers of foes with fireball and lightning bolt WORLD
pells, and even breathe underwater. They master
5th-level spells by the end of the tier, and spells such By 17th level, characters have superheroic capabilities,
as teleportation circle, scrying, flame strike, legend and their deeds and adventures are the stuff of legend.
lore , and raise dead can have a significant impact on Ordinary people can hardly dream of such heights of
their adventures. They start acquiring more permanent power-or such terrible dangers.
magic items (uncommon and rare ones) as well, which
will serve them for the rest of their careers. Dedicated spellcasters at this tier wield earthshaking
9th-level spells such as wish, gate, storm of vengeance,
The fate of a region might depend on the adventures and astral projection. Characters have several rare
that characters of levels 5 to 10 undertake. These and very rare magic items at their disposal, and begin
adventurers venture into fearsome wilds and ancient discovering legendary items such as a vorpal sword or a
ruins, where they confront savage giants, ferocious staffofthe magi.
hydras, fearless golems, evil yuan-ti, scheming devils,
bloodthirsty demons, crafty mind flayers, and drow Adventures at these levels have far-reaching
assassins. They might have a chance of defeating a consequences, possibly determining the fate of
young dragon that has established a lair but not yet millions in the Material Plane and even places beyond.
extended its reach far into the surrounding territory. Characters traverse otherworldly realms and explore
demiplanes and other extraplanar locales, where they
fight savage bator demons, titans, archdevils, lich
archmages, and even avatars of the gods themselves.
The dragons they encounter are wyrms of tremendous
power, whose sleep troubles kingdoms and whose
waking threatens existence itself.

CHAPTER l I A WORLD OF YOUR OWN 37

Characters who reach 20th level have attained FLAVORS OF FANTASY
the pinnacle of mortal achievement. Their deeds are
recorded in the annals of history and recounted by DUNGEONS & DRAGONS is a fantasy game, but that broad
bards for centuries. Their ultimate destinies come to category encompasses a lot of variety. Many different
pass. A cleric might be taken up into the heavens to flavors of fantasy exist in fiction and film. Do you want
serve as a god's right hand. A warlock could become a horrific campaign inspired by the works of H. P.
a patron to other warlocks. Perhaps a wizard unlocks Lovecraft or Clark Ashton Smith? Or do you envision a
the secret to immortality (or undeath) and spends eons world of muscled barbarians and nimble thieves, along
exploring the farthest reaches of the multiverse. A druid the lines of the classic sword-and-sorcery books by
might become one with the land, transforming into a Robert E. Howard and Fritz Leiber? Your choice can
nature spirit of a particular place or an aspect of the have a impact on the flavor of your campaign.
wild. Other characters could found clans or dynasties
that revere the memory of their honored ancestors HEROIC FANTASY
from generation to generation, create masterpieces of
epic literature that are sung and retold for thousands ~~------------------
of years, or establish guilds or orders that keep the Heroic fantasy is the baseline assumed by the D&D
adventurers' principles and dreams alive.
rules. The Player's Handbook describes this baseline:
Reaching this point doesn't necessarily dictate the a multitude of humanoid races coexist with huma ns in
end of the campaign. These powerful characters might fantasti c worlds. Adventurers bring magical powers to
be called on to undertake grand adventures on the bear against the monstrous threats they face. These
cosmic stage. And as a result of these adventures, their characters typically come from ordinary backgrounds,
capabilities can continue to evolve. Characters gain no but something impels them into an adventuring life. The
more levels at this point, but they can still advance in adventurers are the "heroes" of the campaign, but they
meaningful ways and continue performing epic deeds might not be truly heroic, instead pursuing this life for
that resound throughout the multiverse. Chapter 7 selfish reasons. Technology and society are based on
details epic boons you can use as rewards for these medieval norms, though the culture isn't necessarily
characters to maintain a sense of progress. European. Campaigns often revolve around delving into
ancient dungeons in search of treasure or in an effort to
STARTING AT HIGHER LEVEL- - - - - destroy monsters or villains.

Experienced players familiar with the capabilities of This genre is also common in fantasy fiction. Most
the character classes and impatient for more significant novels set in the Forgotten Realms are best described as
adventures might welcome the idea of starting a heroic fantasy, following in the footsteps of many of the
campaign with characters above 1st level. Creating a authors listed in appendix E of the Player 's Handbook.
higher-level character uses the same character creation
steps outlined in the Player's Handbook. Such a SwoRD AND SoRCERY
character has more hit points, class features, and spells,
and probably starts with better equipment. A grim, hulking fighter disembowels the high priest
of the serpent god on his own altar. A laughing rogue
Starting equipment for characters above 1st level is spends ill-gotten gains on cheap wine in filthy taverns.
entirely at your discretion, since you give out treasure Hardy adventurers venture into the unexplored jungle in
at your own pace. That said, you can use the Starting search of the fabled City of Golden Masks.
Equipment table as a guide.
A sword-and-sorcery campaign emulates some of the
classic works of fantasy fiction , a tradition that goes
back to the roots of the game. Here you'll find a dark,
gritty world of evil sorcerers and decadent cities, where

STARTING EQUIPMENT

Character Level Low Magic Campaign Standard Campaign High Magic Campaign

(Video) how i passed my faa written exam 💯

l st-4th Normal starting equipment Normal starting equipment Normal starting equipment
5th-lOth 500 gp plus ldlO x 25 gp,. 500 gp plus ldlO x 25 gp , 500 gp plus ldlO x 25 gp,
normal starting equipment normal starting equipment one uncommon magic item ,
normal starting equipment
11th-16th 5,000 gp plus ldlO x 250 gp, 5,000 gp plus ldlO x 250 gp, 5,000 gp plus ldlO x 250 gp,
one uncommon magic item, two uncommon magic items, three uncommon magic items,
normal starting equipment normal starting equipment one rare item , normal starting
equipment
17th- 20th 20,000 gp plus ldlO x 250 gp, 20,000 gp plus ldlO x 250 gp, 20,000 gp plus ldlO x 250 gp,
two uncommon magic items, two uncom mon magic items , three uncommon magic items ,
normal starting equipment one rare item, normal starting two rare items, one very rare item,
equipment normal starting equipment

g8 CHAPTER 1 I A WORLD OF YOUR OWN

- e protagonists are motivated more by greed and self-
rerest than by altruistic virtue. Fighter, rogue, and

:Jarbarian characters tend to be far more common than
izards, clerics, or paladins. In such a pulp fantasy

: rti ng, those who wield magic often symbolize the
:.ecadence and corruption of civilization, and wizards
-e the classic villains of these settings. Magic items are
· erefore rare and often dangerous.

Certain DUNGEONS & DRAGONS novels follow in the
- tsteps of classic sword-and-sorcery novels. The world
; Athas (as featured in numerous Dark Sun novels and
,arne products), with its heroic gladiators and tyrannical
: rcerer-kings, belongs squarely in this genre.

IPIC FANTASY

-.devout paladin in gleaming plate armor braces her
- ce as she charges a dragon. Bidding farewell to his
ear love, a noble wizard sets forth on a quest to close

e gate to the Nine Hells that has opened in the remote
· derness. A close-knit band of loyal friends strives to
·ercome the forces of a tyrannical overlord.
An epic-fantasy campaign emphasizes the conflict
tween good and evil as a prominent element
• r.he game, with the adventurers more or less
:: ua rely on the side of good. These characters
-e heroes in the best sense, driven by a higher

ose than selfish gain or ambition, and facing
~credible dangers without blinking. Characters
~·ght struggle with moral quandaries, fighting

e evil tendencies within themselves as well as
-e evil that threatens the world. And the stories of
-e e campaigns often include an element of romance:
;agic affairs between star-crossed lovers, passion that
:anscends even death, and chaste adoration between
- ·out knights and the monarchs and nobles they serve.

The novels of the Dragonlance saga exemplify the
::adition of epic fantasy in D&D.

_ fYTHIC FANTASY

nile an angry god tries time and again to destroy him,
clever rogue makes the long journey home from war.
3.-avi ng the terrifying guardians of the underworld , a
- ble warrior ventures into the darkness to retrieve the
: ul of her lost love. Calling on their divine parentage,
~grou p of demigods undertake twelve labors to win the

' blessings for other mortals.
A my thic-fantasy campaign draws on the themes and
:-ories of ancient myth and legend, from Gilgamesh
Cu Chulainn. Adventurers attempt mighty feats of
egend, aided or hindered by the gods or their agents-
.:1d they might have divine blood themselves. The
- nsters and villains they face probably have a similarl!ll
:igin. The minotaur in the dungeon isn't just another

!-headed humanoid, but the Minotaur- misbegotten
.:r pring of a philandering god. Adventures might lead
e heroes through a series of trials to the realms of the

in search of a gift or favor.
uch a campaign can draw on the myths and legends
c any culture, not just the familiar Greek tales.

DARK FANTASY MYSTERY

Vampires brood on the battlements of their accursed Who stole three legendary magic weapons and hid them
castles. Necromancers toil in dark dungeons to create away in a remote dungeon, leaving a cryptic clue to their
horrid servants made of dead flesh. Devils corrupt the location? Who placed the duke into a magical slumber,
innocent, and werewolves prowl the night. All of these and what can be done to awaken him? Who murdered
elements evoke horrific aspects of the fantasy genre. the guildmaster, and how did the killer get into the
guild's locked vault?
If you want to put a horror spin on your campaign,
you have plenty of material to work with. The Monster A mystery-themed campaign puts the characters in
Manual is full of creatures that perfectly suit a storyline the role of investigators, perhaps traveling from town
of supernatural horror. The most important element of to town to crack tough cases the local authorities can't
such a campaign, though, isn't covered by the rules. A handle. Such a campaign emphasizes puzzles and
dark-fantasy setting requires an atmosphere of building problem-solving in addition to combat prowess.
dread, created through careful pacing and evocative
description. Your players contribute too; they have to A larger mystery might even set the stage for the
be willing to embrace the mood you're trying to evoke. whole campaign. Why did someone kill the characters'
Whether you want to run a full-fledged dark-fantasy mentor, setting them on the path of adventure? Who
campaign or a single creepy adventure, you should really controls the Cult of the Red Hand? In this case,
discuss your plans with the players ahead of time to the characters might uncover clues to the greater
make sure they're on board. Horror can be intense mystery only once in a while; individual adventures
and personal, and not everyone is comfortable with might be at best tangentially related to that theme. A
such a game. diet of nothing but puzzles can become frustrating, so
be sure to mix up the kinds of encounters you present.
Novels and game products set in Ravenloft, the
Demiplane of Dread, explore dark-fantasy elements in a Novels in various D&D settings have explored the
D&D context. mystery genre with a fantasy twist. In particular, Murder
in Cormyr (by Chet Williamson), Murder in Halruaa (by
INTRIGUE Richard S. Meyers), and Spellstorm (by Ed Greenwood)
are mysteries set in the Forgotten Realms. Murder
The corrupt vizier schemes with the baron's oldest in Tarsis (by John Maddox Roberts) takes the same
daughter to assassinate the baron. A hobgoblin army approach in the Dragonlance setting.
sends doppelganger spies to infiltrate the city before the
invasion. At the embassy ball, the spy in the royal court SWASHBUCKLING
makes contact with his employer.
Rapier-wielding sailors fight off boarding sahuagin.
Political intrigue, espionage, sabotage, and similar Ghouls lurk in derelict ships, waiting to devour treasure
cloak-and-dagger activities can provide the basis for hunters. Dashing rogues and charming paladins weave
an exciting D&D campaign. In this kind of game, the their way through palace intrigues and leap from
characters might care more about skill training and balconies onto waiting horses below.
making contacts than about attack spells and magic
weapons. Roleplaying and social interaction take on The swashbuckling adventures of pirates and
greater importance than combat, and the party might go musketeers suggest opportunities for a dynamic
for several sessions without seeing a monster. campaign. The characters typically spend more
time in cities, royal courts, and seafaring vessels
Again, make sure your players know ahead of time than in dungeon delves, making interaction skills
that you want to run this kind of campaign. Otherwise, important (though not to the extent of a pure intrigue
a player might create a defense-focused dwarf paladin, campaign). Nevertheless, the heroes might end up in
only to find he is out of place among half-elf diplomats classic dungeon situations, such as searching storm
and tiefling spies. sewers beneath the palace to find the evil duke's
hidden chambers.
The Brimstone Angels novels by Erin M. Evans focus
on intrigue in the Forgotten Realms setting, from the A good example of a swashbuckling rogue in the
backstabbing politics of the Nine Hells to the contested Forgotten Realms is Jack Ravenwild, who appears in
s_uccession of Cormyrean royalty. novels by Richard Baker (City ofRavens and Prince
ofRavens).

WAR

A hobgoblin army marches toward the city, leading
elephants and giants to batter down the stronghold's
walls and ramparts. Dragons wheel above a barbarian
horde, scattering enemies as the raging warriors
cut a swath through field and forest. Salamanders
muster at an efreeti's command, poised to assault an
astral fortress.

·arfare in a fantasy world is rife \.Vith opportunities cultural origins . An alternati>e name changes none of
-adventure. A war campaign isn"t generally concerned the weapon's properties as they are described in the
Player 's Handbook .
- i.be specifics of troop movements, but instead
_ --es on the heroes whose actions tu rn the tide of CROSSING THE STREAMS
- e. The characters carry out specific missions:
_·ure a magical standard that empowers undead The renowned paladin Murlynd, from the world of
Oerth (as featured in Greyhawk novels and game
·e . gather reinforcements to break a siege, or products), dresses in the traditional garb of Earth's
_ -- ough the enemy's flank to reach a demonic Old West and wears a pair of six-shooters strapped
-mander. In other situations, the party supports to his waist. The Mace of St. Cuthbert, a holy weapon
- larger army by holding a strategic location until belonging to Greyhawk's god of justice, found its way
to the Victoria and Albert Museum in London in 1985.
_:orcements arrive, killing enemy scouts before Somewhere in the Barrier Peaks of Oerth, the wreckage
_ can report, or cutting off supply lines. Information of a spacefaring vessel is said to lie, with bizarre alien
_ --~ring and diplomatic missions can supplement the lifeforms and strange items of technology on board. And
the famous wizard Elminster of the Forgotten Realms
combat-oriented adventures. has been said to make occasional appearances in the
- e War of the Lance in the Dragonlance Chronicles kitchen of Canadian writer Ed Greenwood- where he is
-;: - and the War of the Spider Queen in the novel sometimes joined by wizards from the worlds of Oerth
an,d Krynn (homeworld of the Dragonlance saga).
of the same name are prominent examples of
-s in D&D novels. Deep in D&D's roots are elements of science
fiction and science fantasy, and your campaign might
::XIA-------------------------------- draw on those sources as well. It's okay to send your
characters hurtling through a magic mirror to Lewis
-~n a sensei disappears mysteriously, her young Carroll's Wonderland, put them aboard a ship traveling
em must take her place and hunt down the oni between the stars, or set your campaign in a far-future
rizing their village. Accomplished heroes, masters world where laser blasters and magic missiles exist
side by side. The possibilities are limitless. Chapter
· ·eir respective martial arts, return home to free their 9, "Dungeon Master's Workshop," provides tools for
ge from an evil hobgoblin warlord. The rakshasa exploring those possibilities.
'er of a nearby monastery performs rituals to raise
- led ghosts from their rest. WUXIA WEAPON NAMES

-.campaign that draws on elements of Asian martial- Weapon Other Names (Culture)
- movies is a perfect match for D&D. Players can Battleaxe fu (China); masakari (Japan)
Club bian (China); tonfa (Japan)
"" e the appearance of their characters and gear Dagger bishou, tamo (China); kozuka, tanto (Japan)
·er they like for the campaign, and spells need only Dart shuriken (Japan)
Fl ail nunchaku (Japan)
- - flavor changes so that they better reflect such a Glaive guandao (China); bisento, naginata (Japan)
- g. For example, when the characters use spells Greatclub tetsubo (Japan)
::;>ecial abilities that teleport them short distances, Greatsword changdao (China); nodachi (Japan)
_ act ually make high-flying acrobatic leaps. Ability Halberd ji (China); kamayari (Japan)
Handaxe ono (Japan)
to climb don't involve careful searching for holds Javelin mau (China); uchi-ne (Japan)
· .e cha racters bounce up walls or from tree to tree. Lan ce umayari (Japan)
-· ·ors stun their opponents by striking pressure Longbow daikyu (Japan)
-· . Flavorful descriptions of actions in the game Longsword jian (China); katana (Japan)
Mace chui (China) ; kanabo (Japan)
-change the nuts and bolts of the rules, but they Pike mao (China); nagaeyari (Japan)
·e all the difference in the feel of a campaign. Quarterstaff gun (China); bo (Japan)
.=..:ni!arly, a class doesn't need new rules to reflect Scimitar liuyedao (China); wakizashi (Japan)
~ ura l influence; a new name can do the trick. A Shortbow hankyu (Japan)
· -onal Chinese wuxia hero might be a paladin Shortsword shuangdao (China)
-'las a sword called the Oath of Vengeance, while a Sickle kama (Japan)
- e e samurai might be a paladin with a particular Spear qiang (China); yari (Japan)
--of Devotion (bushido) that includes fealty to a Trident cha (Ch ina) ; magariyari (Japan)
-:. daimyo) among its tenets. A ninja is a monk who War pick fang (China); kuwa (Japan)
-::"•es the Way of Shadow. Whether called a wujen,
" ·ai. or a swami, a wizard, sorcerer, or warlock
· :acter works just fine in a game inspired by medieval
n cultures.

:-xiA WEAPON NAMES

ing players refer to a tetsubo or a katana rather than
,. atclub or a longsword can enhance the flavor of

_tia campaign. The Wuxia Weapon Names table
·""" alternative names for common weapons from
- PJayer's Handbook and identifies their real-world

CHAPTER 1 I A WORLD OF YOUR OWN 4-I

HAPTER 2: CREATING A MULTIVERSE

lHEN ADVENTURERS REACH HIGHER LE VELS , The Inner Planes. The four Elemental Planes (Air,
their path extends to other dimensions of Earth, Fire, and Water), plus the Elemental Chaos that
reality: the planes of existence that form the surrounds them, are the Inner Planes.
multiverse. The characters might be called
on to rescue a friend from the horrific depths The Outer Planes. Sixteen Outer Planes correspond
of the Abyss or to sail the shining waters of to the eight non-neutral alignments and shades of
the River Oceanus. They can hoist a tankard philosophical difference between them.
- lhe friendly giants ofYsgard or face the chaos of
-bo to contact a wizened githzerai sage. The Positive and Negative Planes. These two planes
::>Janes of existence define the extremes of strange enfold the rest of the cosmology, providing the raw
- often dangerous environments. The most bizarre forces of life and death that underlie the rest of
··ons present settings undreamed of in the natural existence in the multiverse.
d. P lanar adventures offer unprecedented dangers
- .·onders. Adventurers walk on streets made of solid PUTTING THE PLANES TOGETHER
or test their mettle on a battlefield where the fallen
;-e urrected with each dawn. As described in the Player's Handbook, the assumed
D&D cosmology includes more than two dozen planes.
: :arious planes of existence are realms of myth For your campaign, you decide what planes to include,
mystery. They're not simply other worlds, but inspired by the standard planes, drawn from Earth's
myths, or created by your own imagination.
-ensions formed and governed by spiritual and
~ ental principles. At minimum , most D&D campaigns require
- e Outer Planes are realms of spirituality and these elements:

ght. They are the spheres where celestials, fiends, • A pl a ne of origin for fiends
- dei ties exist. The plane of Elysium , for example, A plane of origin for celestials
A plane of origin for elementals
-merely a place where good creatures dwell, and not
imply the place where spirits of good creatures • A place for deities, which might include any or all of
the previous three
.hen they die. It is the plane of goodness, a spiritual The place where mortal spirits go after death, which
where evil can't flourish. It is as much a state of might include any or all of the first three
A way of getting from one plane to another
- a a nd of mind as it is a physical location. A way for spells and monsters that use the Astral
e Inner Planes exemplify the physical essence Plane and the Ethereal Plane to function

- elemental nature of air, earth, fire , and water. Once you've decided on the planes you want to use in
-- Elemental Plane of Fire, for example, embodies your campaign, putting them into a coherent cosmology
is an optional step. Since the primary way of traveling
~ e ence of fire. The plane's entire substance is from plane to plane, even using the Transitive Planes,
is through magical portals that link planes together, the
= ed with the fundamental nature of fire: energy, exact relationship of different planes to one another is
largely a theoretical concern. No being in the multiverse
--·on, transformation, and destruction. Even objects can look down and see the planes in their arrangement
: lid brass or basalt seem to dance with flame , in a the same way as we look at a diagram in a book. No
ilile and palpable manifestation of the vibrancy of mortal can verify whether Mount Celestia is sandwiched
· dominion. between Bytopia and Arcadia, but it's a convenient
- lhis context, the Material Plane is the nexus where theoretical construct based on the philosophical
· ese philosophical and elemental forces collide in shading among the three planes and the relative
:umbled existence of mortal life and matter. The importance they give to law and good.
- d of D&D exist within the Material Plane, making
Sages have constructed a few such theoretical models
e starting point for most campaigns and adventures. to make sense of the jumble of planes, particularly the
- -e rest of the multiverse is defined in relation to the Outer Planes. The three most common are the Great

.,-eria l Plane. INVENTING YOUR OWN PLANES

l:.....A. NAR CATEGORIES Each of the planes described in this chapter has at least
one significant effect on travelers who venture there. When
- -e planes of the default D&D cosmology are grouped you design your own planes, it's a good idea to stick to
- -:he following categories: that model. Create one simple trait that players notice, that
doesn't create too much complication at the gaming table,
e Material Plane and Its Echoes. The Feywild and and that's easy to remember. Try to reflect the philosophy and
·· e Shadowfell are reflections of the Material Plane. mood of the place, not merely its physical characteristics .
e Transitive Planes. The Ethereal Plane and the
.· tral Plane are mostly featureless planes that
: rve primarily as pathways to travel from one plane
•o another.

CHAPTER 2 I CREATING A MULT!VERSE 43

Wheel, the World Tree, and the World Axis, but you The Orrery. All the Inner and Outer Planes orbit the
can create or adapt whatever model works best for the Material Plane, exerting greater or lesser influence on
planes you want to use in your game. the world as they come nearer and farther. The world of
Eberron uses this cosmological model.
THE GREAT WHEEL
The default cosmological arrangement presented The Winding Road. In this cosmology, every plane is
a stop along an infinite road. Each plane is adjacent to
in the Player's Handbook visualizes the planes as a two others, but there's no necessary cohesion between
group of concentric wheels, with the Material Plane adjacent planes; a traveler can walk from the slopes of
and its echoes at the center. The Inner Planes form Mount Celestia onto the slopes of Gehenna.
a wheel around the Material Plane, enveloped in the
Ethereal Plane. Then the Outer Planes form another Mount Olympus. In the Greek cosmology, Mount
wheel around and behind (or above or below) that one, Olympus stands at the center of the world (the Material
arranged according to alignment, with the Outlands Plane), with its peak so high that it's actually another
linking them all. plane of existence: Olympus, the home of the gods. All
the Greek gods except Hades have their own domains
This arrangement makes sense of the way the River within Olympus. In Hades, named for its ruler, mortal
Styx flows among the Lower Planes, connecting souls linger as insubstantial shades until they eventually
Acheron, the Nine Hells, Gehenna, Hades, Carceri, the fade into nothing. Tartarus, where the titans are
Abyss, and Pandemonium like beads on a string. But it's imprisoned in endless darkness, lies below Hades. And
not the only possible explanation of the river's course. far to the west of the known world in the Material Plane
are the blessed Elysian Fields. The souls of great heroes
THE WORLD TREE reside there.
A different arrangement of planes envisions them
situated among the roots and branches of a great cosmic Solar Barge. The Egyptian cosmology is defined by
tree, literally or figuratively. the daily path of the sun- across the sky of the Material
Plane, down to the fair Offering Fields in the west,
For example, the Norse cosmology centers on the where the souls of the righteous live in eternal reward,
World Tree Yggdrasil. The three roots of the World and then beneath the world through the nightmarish
Tree touch the three realms: Asgard (an Outer Plane Twelve Hours of Night. The Solar Barge is a tiny Outer
that includes Valhalla, Vanaheim, Alfheim, and other Plane in its own right, though it exists within the Astral
regions), Midgard (the Material Plane), and Niflheim Plane and the other Outer Planes in the different stages
(the underworld). The Bifrost, the rainbow bridge, of its journey.
is a unique transitive plane that connects Asgard
and Midgard. One World. In this model, there are no other
planes of existence, but the Material Plane includes
Similarly, one vision of the planes where the deities places like the bottomless Abyss, the shining Mount
of the Forgotten Realms reside situates a number of Celestia, the strange city of Mechanus, the fortress of
celestial planes in the branches of a World Tree, while Acheron, and so on. All the planes are locations in the
the fiendish planes are linked by a River of Blood. wodd, reachable by ordinary means of travel-though
Neutral planes stand apart from them. Each of these extraordinary effort is required, for example, to sail
planes is primarily the domain of one or more deities, across the sea to the blessed isles of Elysium.
though they are also the homes of celestial and fiendish
creatures. The Otherworld. In this model, the Material Plane
has a twin realm that fills the role of all the other planes.
THE WORLD AxiS Much like the Feywild, it overlays the Material Plane
In this view of the cosmos, the Material Plane and its and can be reached through "thin places" where the
echoes stand between two opposing realms. The Astral worlds are particularly close: through caves, by sailing
Plane (or Astral Sea) floats above them, holding any far across the sea, or in fairy rings in remote forests. It
number of divine domains (the Outer Planes). Below has dark, evil regions (homes of fiends and evil gods),
the Material Plane is the Elemental Chaos, a single, sacred isles (homes of celestials and the spirits of the
undifferentiated elemental plane where all the elements blessed death), and realms of elemental fury. This
clash together. At the bottom of the Elemental Chaos is otherworld is sometimes overseen by an eternal city, or
the Abyss, like a hole torn in the fabric of the cosmos. by four cities that each represent a different aspect of
reality. The Celtic cosmology has an otherworld, called
OTHER VISIONS Tfr na n6g, and the cosmologies of some religions
As you build your own cosmology, consider the inspired by Asian myth have a similar Spirit World.
following alternatives.
PLANAR TRAVEL
The Omniverse. This simple cosmology covers the
bare minimum: a Material Plane; the Transitive Planes; When adventurers travel to other planes of existence,
a single Elemental Chaos; an Overheaven, where good- they undertake a legendary journey that might force
aligned deities and celestials live; and the Underworld, them to face supernatural guardians and undergo
where evil deities and fiends live. various ordeals. The nature of that journey and the trials
along the way depend in part on the means of travel, and
Myriad Planes. In this cosmology, countless planes whether the adventurers find a magic portal or use a
clump together like soap bubbles, intersecting with each spell to carry them.
other more or less at random.

CHAPTER 2 I CREATING A Mt.:LTI\ ERSE

"PLANAR PORTALS on a clear night, or when it ra ins, or when a certain
spell is cast in its vicinity.
• aistlin's] eyes studied the Portal, studied every detail Random. A random portal functions for a random
period, then shuts down for a similarly random
ently-although it was not really necessary. He had seen duration. Typically, such a portal allows ld6 +
6 travelers to pass through, then shuts down
-myriad times in dreams both sleeping and waking. The for ld6 days.
Command Word. The portal functions only if a
._ells to open it were simple, nothing elaborate or complex. particular command word is spoken. Sometimes the
word must be spoken as a character passes through
~-ch of thefive dragon heads surrounding and guarding the portal (which is otherwise a mundane doorway,
window, or similar opening). Other portals open when
~ Portal must be propitiated with the correct phrase. Each the command word is spoken and remain open for a
short time.
:.tSt be spoken to in the proper order. But, once that was Key. The portal functions if the traveler is holding a
particular object; the item acts much like a key to
_ ne and the White-Robed Cleric had exhorted Po/adine ll. door. This key item can be a common object or a
particular key created for that portal. The city of Sigil
·'ltercede and hold the Portal open, they would enter. above the Outlands is known as the City of Doors
because it features an overwhelming number of such
·· ould close behind them. item-keyed portals.

_-md he would face his greatest challenge. Learning and meeting a portal's requirements can
draw characters into further adventures as they chase
-Margaret Weis & Tracy Hickman, War of the Twins down a key item, scour old libraries for command
words, or consult sages to find the right time
~orta l " is a general term for a stationary interplanar to visit the portal.
nnection that links a specific location on one plane
a pecific location on another. Some portals function
.:-e doorways, appearing as a clear window or a fog-

.;.--ouded passage, and interplanar travel is as simple
.--epping through the doorway. Other portals are

tions-ci rcles of standing stones, soari ng towers,
ing ships, or even whole towns-that exist in
tiple planes at once or flicker from one plane to
- ther. Some are vortices, joining an Elemental Plane

-= -- a very similar location on the Material Plane, such
e heart of a volcano (leading to the· Plane of Fire) or
depths of the ocean (to the Plane of Water).
? ing through a planar portal can be the simplest
_-w travel from the Material Plane to a desired
arion on another plane. Most of the time, though, a
:tal presents an adventure in itself.
:=- t. the adventurers must find a portal that leads
ere they want to go. Most portals exist in distant
ations, and a portal's location often has thematic
- arities to the plane it leads to. For example, a portal
- e heave nly mountain of Celestia might be located
a mountain peak.
- cond, portals often have guardians charged with
illfing that undesirable people don't pass through.
:;>ending on the portal's destination, "undesirable
- pie·· might include evil characters, good characters,
:ards , thieves, anyone wearing a robe, or any mortal
-e ture. A portal's guardian is typically a powerful
- ·gical creature, such as a genie, sphinx, titan, or

.-e of the portal's destination plane.
-=-mally, most portals don't stand open all the time,
_-open only in particular situations or when a certain
_ ·rement is met. A portal can have any conceivable

- ement, but the following are the most common:

e. T he portal functions only at particular times:
ilfing a full moon on the Material Plane, or every ten
y . or when the stars are in a particular position.
nee it opens, such a portal remains open for a

ired time, such as for three days following the full
~n . or for an hour, or for ld4 + 1 rounds.
-- ation. The portal functions only if a particular
ond ition is met. A situation-keyed portal opens

SPELLS circle, but such knowledge is even harder to come
by tha n the specifications of the required tuning
Sa~ya raised her hands and began to declaim the words of fork. Otherwise, the spell transports the caster to
a very powerful spell, one of the most dangerous she knew, a location in the general vicinity of the desired spot.
a spell designed to breach the barriers between the planes Wherever the adventurers arrive, they'll most likely
and create a magical bridge into another realm of existence. still need to undertake a journey to reach the object of a
The myth a/ thrummed in response, th e intangible pulse of planar quest.
the old device taking on a new and different note. Sarya
ignored the myth a/ stone's change and pressed on, finishing Gate. The gate spell opens a portal linked to a speci fic
her gate spell with skill and confidence. point on another plane of existence. The spell provides
a shortcut to a planar destination, bypassing many of
"The gate is open!" she cried. "Malkizid, come forth !" the guardians and trials that would normally fill such
Before Sarya a great ring or hoop ofgolden magic a journey. But this 9th-level spell is out of reach for all
coalesced from the air. Through it she glimpsed the realm but the most powerful characters, and it does nothing to
ofMalkizid, an infernal wasteland of parched desert, negate any obstacles that wait at the destination.
windswept rifts, and black, angry skies torn by crimson
lightning. Then , through the gate, the archdevil Malkizid The gate spell is powerful , but not infallible. A deity,
appeared. With one smooth step he crossed from his demon lord, or other powerful entity can prevent such a
infernal plane into the mytha/ chamber. portal from opening within its dominion.

-Richard Baker, Farthest Reach ASTRAL PLANE

A number of spells allow direct or indirect access to Halisstra opened her eyes and found herself drifting in
other planes of existence. Plane shift and gate can
directly transport adventurers to any other plane, with an endless silver sea. Soft gray clouds moved slowly in
different degrees of precision. Etherealness allows the distance, while strange dark streaks twisted violently
adventurers to enter the Ethereal Plane. And the astral
projection spell lets adventurers project themselves through the sky, anchored in ends so distant she couldn't
into the Astral Plane and from there travel to the perceive th em, their middle parts revolving angrily like
Outer Planes.
pieces of string rolled between a child 's fingertips. She
Plane Shift. The plane shift spell has two important glanced down, wondering what supported her, and saw
limitations. The first is the material component: a nothing but more of th e strange pearly sky beneath herfee t
small, forked , metal rod (like a tuning fork) attuned to
the desired planar destination. The spell requires the and all around her.
proper resonating frequen cy to home in on the correct She drew in a sudden breath , surprised by the sight, and
location , and the fork must be made of the right material
(sometimes a complex alloy) to focus the spell's magic felt her lungs fill with something sweeter and perhaps a little
properly. Crafting the fork is expensive (at least 250 gp),
but even the act of researching the correct specifications more solid than air, but instead ofgagging or drowning
can lead to adventure. After all. not ma ny people
voluntarily travel into the depth of Carceri, so very few on the stuff she seemed perfectly acclimated to it. An
know what kind of tuning fork i required to get there.
electric thrill raced through her limbs as shefound herself
Second, the spell doesn't end the caster to a specific mesmerized by the simple act of respiration.
location unless he or she ha pecialized information.
The sigil sequence of a teleponation ci rcle located on -Richard Baker, Condemna tio
another plane allows the ca rer ro travel directly to that
The Astral Plane is the realm of thought and dream,
where visitors travel as disembodied souls to reach
the Outer Planes. It is a great silvery sea, the same
above and below, with swirling wisps of white and gray
streaking among motes of light like distant stars. Most
of the Astral Sea is a vast, empty expanse. Visitors
occasionally stumble upon the petrified corpse of a

CHAPTER 2 I CREATING A E

dead god or other chunks of rock drifting forever in the AsTRAL CoLoR PooLs
silvery void. Much more commonplace are color pools-
magical pools of colored light that flicker like radiant, d20 Plane Pool Color
spinning coins. Ysgard Indigo
2 Limbo jet black
Creatures on the Astral Plane don't age or suffer from 3 Pandemonium Magenta
hunger or thirst. For this reason, humanoids that live 4 Th e Abyss Amethyst
on the Astral Plane (such as the githyanki) establish Carceri Olive
outposts on other planes, often the Material Plane, so 5 Hades Rust
their children can grow to maturity. Gehenna Russet
6 The Nine Hells Ruby
A traveler in the Astral Plane can move by simply 7 Ache ron Flame red
thinking about moving, but distance has little meaning. 8 Mechanus Diamond blue
In combat, though, a creature's walking.speed (in feet) is 9 Arcadia Saffron
equal to 3 x its Intelligence score. The smarter a creature 10 Mount Celestia Gold
is, the easier it can control its movement by act of will. 11 Bytopia Amber
12 El ysium Orange
ASTRAL PROJECTION 13 The Beastlands Emerald green
14 Arborea Sapphire blue
Traveling through the Astral Plane by means of 15 The Outlands Leather brown
the astral projection spell involves projecting one's 16 Ethereal Plane Spiraling white
consciousness there, usually in search of a gateway to an 17 Material Plane Silver
Outer Plane to visit. Since the Outer Planes are as much 18
spiritual states of being as they are physical places, this 19-20
allows a character to manifest in an Outer Plane as if he
or she had physically traveled there, but as in a dream. PSYCHIC WIND
A character's death-either in the Astral Plane or on
the destination plane-causes no actual harm. Only the A psychic wind isn't a physical wind like that found on
severing of a character's silver cord while on the Astral the Material Plane, but a storm of thought that batters
Plane (or the death of his or her helpless physical body travelers' minds rather than their bodies. A psychic
on the Material Plane) can result in the character's true wind is made up of lost memories, forgotten ideas,
death. Thus, high-level characters sometimes travel to minor musings, and subconscious fears that went
the Outer Planes by way of astral projection rather than astray in the Astral Plane and conglomerated into this
eek out a portal or use a more direct spell. powerful force.

Only a few things can sever a traveler's silver cord, the A psychic wind is first sensed as a rapid darkening of
most common being a psychic wind (described below). the silver-gray sky. After a few rounds, the area becomes
The legendary silver swords of the githyanki also have as dark as a moonless night. As the sky darkens, the
this ability. A character who travels bodily to the Astral traveler feels buffeting and shaking, as if the plane itself
Plane (by means of the plane shift spell or one of the was rebelling against the storm. As quickly as it comes,
.-are portals that leads directly there) has no silver cord. the psychic wind passes, and the sky returns to normal
in a few rounds.
C OLOR POOLS
The psychic wind has two kinds of effects: a
Gateways leading from the Astral Plane to other location effect and a mental effect. A group of travelers
planes appear as two-dimensional pools of rippling journeying together suffers the same location effect.
colors, ld6 x 10 feet in diameter. Traveling to another Each traveler affected by the wind must also make a
plane requires locating a color pool that leads to the DC 15 Intelligence saving throw. On a failed save, the
desired plane. These gateways to other planes can be traveler suffers the mental effect as well. Roll a d20
:dentified by color, as shown on the Astral Color Pools twice and consult the Psychic Wind Effects table to
table. Finding the right color pool is a matter of chance: determine the location and mental effects.
.ocating the correct one takes ld4 x 10 hours of travel.

CHAPTER 2 I CREATING A MULTTVERSE 4·7

PSYCHIC WIND EFFECTS ETHEREAL PLANE

d20 Location Effect Tamlinfelt a hand on him ,felt his body shimmer into
1-8 Diverted; add 1d6 hours to travel time
9- 12 Blown off course; add 3d10 hours to trave l time mist The screams and shouts sounded far off- The walls
13-16 Lost; at the end of the travel time, characters arrive
at a location other than the intended destination around him appeared to be only gray shadows. Rivalen
17- 20 Sent through color pool to a random plane (roll on
the Astral Color Pools table) and Brenn us stood beside him.

d20 Mental Effect "The ethereal plane,"Rivalen said. "The dragon's breath
1-8 Stunned for 1 minute; you can repeat the saving
throw at the end of each of your turns to end the cannot affect us here."
9-10 effect on yo urself
11 - 12 Short-term madness (see chapter 8) - PaulS. Kemp, Shadowstorm
13 - 16 11 (2d10) psychic damage
17-18 22 (4d10) psychic damage The Ethereal Plane is a misty, fog-bound dimension.
19 - 2 0 Long-term madness (see chapter 8) Its "shores," called the Border Ethereal, overlap the
Unconscious for 5 (1d10) minutes; the effect on Material Plane and the Inner Planes, so that every
you ends if you take damage or if another creature location on those planes has a corresponding location
uses an action to shake you awake on the Ethereal Plane. Visibility in the Border Ethereal
is limited to 60 feet The plane's depths comprise a
ASTRAL PLANE ENCOUNTERS region of swirl ing mist and fog called the Deep EthereaL
where visibility is limited to 30 feet
Planar travelers and refugees from other planes wander
the expanses of the Astral Plane. The most prominent Characters can use the etherealness spell to enter
denizens of the Astral Plane are the githyanki, an the Border EthereaL The plane shift spell allows
outcast race of reavers that sail sleek astral ships, transport to the Border Ethereal or the Deep Ethereal,
slaughter astral travelers, and raid planes touched but unless the intended destination is a specific location
by the AstraL Their city, Tu'narath, floats through the or a teleportation circle, the point of arrival could be
Astral Plane on a chunk of rock that is actua lly the body anywhere on the plane.
of a dead god.
BORDER ETHERE-A-L - - - -
Celestials, fiends, and mortal explorers often scour
the Astral Plane for color pools leading to desired From the Border Ethereal , a traveler can see into
destinations. Characters who linger for too long whatever plane it overlaps, but that plane appears muted
in the Astral might have an encounter with one or and indistinct, its colors blurring into each other and
more wandering angels, demons, devils, night hags, its edges turning fuzzy. Ethereal denizens watch the
yugoloths, or other planar travelers. plane as though peering through distorted and frosted
glass, and can't see anything beyond 30 feet into the
other plane. Conversely, the Ethereal Plane is usually
invisible to those on the overlapped planes, except with
the aid of magic.
- Normally, creatures in the Border Ethereal can't
attack creatures on the overlapped plane, and vice
versa. A traveler on the Ethereal Plane is invisible and
utterly silent to someone on the overlapped plane, and
solid objects on the overlapped plane don't hamper
the movement of a creature in the Border EthereaL
The exceptions are certain magical effects (including
anything made of magical force) and living beings. This
makes the Ethereal Plane ideal for reconnaissance,
spying on opponents, and moving around without being
detected. The Ethereal Plane also disobeys the laws
of gravity; a creature there can move up and down as
easily as walking.

DEEP - -ETHEREAL - - - - -

To reach the Deep Ethereal, one needs a plane shift
spell or arrive by means of a gate spell or magical portaL
Visitors to the Deep Ethereal are engulfed by roiling
mist Scattered throughout the plane are curtains of
vaporous color, and passing through a curtain leads a
traveler to a region of the Border Ethereal connected to
a specific Inner Plane, the Material Plane, the Feywild.
or the ShadowfelL The color of the curtain indicates the
plane whose Border Ethereal the curtain conceals; see
the Ethereal Curtains table.

ETHEREAL CURTAINS Color of Curtain FEYWILD
Bright turquoise
d8 Plane Dus ky gray Stepping into the portal was like settling into a warm bath,
1 Material Plane Opalescent white
2 Shadowfell Pale blue though the chill didn't jade from the air. At first everything
3 Feywild Reddish-brown
4 Plane of Air Orange muted-the roar of the river around the rocks below, the
5 Plane of Earth Green
6 Plane of Fire Swirling mix of colors ch irp ing offrogs and crickets on shore, the evening bustle of
7 Plane of Water
8 Elemental Chaos th e town behind him . ... A moment later, the world erupted

Traveling through the Deep Ethereal to journey from into vibrant life. Frogs and night birds sang a chorus; the air
one plane to another is unlike physical travel. Distance
is meaningless, so although travelers feel as if they can was awash with autumn scents; the moonlight painted the
move by a simple act of will, it's impossible to measure
speed and hard to track the passage of time. A trip flo wers in iridescent blue, silver, and violet; and the rushing
between planes through the Deep Ethereal takes 1d10
x 10 hours, regardless of the origin and destination. In of th e river became a complex symphony.
combat, however, creatures are considered to move at
their normal speeds. -James Wyatt, Oath of Vigilance

ETHER CYCLONES The Feywild, also called the Plane of Faerie, is a land of
soft lights and wonder, a place of music and death. It is a
An ether cyclone is a serpentine column that spins realm of everlasting twilight, with glittering faerie lights
through the plane. The cyclone appears abruptly, bobbing in the gentle breeze and fat fireflies buzzing
distorting and uprooting ethereal forms in its path and through groves and fields. The sky is alight with the
carrying the debris for leagues. Travelers with a passive faded colors of an ever-setting sun, which never truly
Wisdom (Perception) score of 15 or more receive 1d4 sets (or rises for that matter); it remains stationary,
rounds of warning: a deep hum in the ethereal matter. dusky and low in the sky. Away from the settled areas
Travelers who can't reach a curtain or portal leading ruled by the seelie fey that compose the Summer Court,
elsewhere suffer the cyclone's effect. Roll a d20 and the land is a tangle of sharp-toothed brambles and
consult the Ether Cyclone table to determine the effect syrupy fens- perfect territory for the unseelie fey to hunt
on all creatures in the vicinity. their prey.

ETHER CYCLONE The Feywild exists in parallel to the Material
Plane, an alternate dimension that occupies the same
d20 Effect cosmological space. The landscape of the Feywild
1-12 Extended journey mirrors the natural world but turns its features into
13-19 Blown to the Border Ethereal of a random plane spectacular forms. Where a volcano stands on the
(roll on the Ethereal Curtains table) Material Plane, a mountain topped with skyscraper-
20 Hurled into the Astral Plane sized crystals that glow with internal fire towers in the
Feywild. A wide and muddy river on the Material Plane
The most common effect of an ether cyclone is to might be echoed as a clear and winding brook of great
extend the duration of a journey. Each character in a beauty. A marsh could be reflected as a vast black bog of
group traveling together must make a DC 15 Charisma sinister character. And moving to the Feywild from old
aving throw. If at least half the group succeeds, travel ruins on the Material Plane might put a traveler at the
is delayed by 1d10 hours. Otherwise, the journey's travel door of an archfey's castle.
time is doubled. Less often, a group is blown into the
Border Ethereal of a random plane. Rarely, the cyclone The Feywild is inhabited by sylvan creatures, such
rears a hole in the fabric of the plane and hurls the party as elves, dryads, satyrs, pixies, and sprites, as well as
into the Astral Plane. centaurs and magical creatures such as blink dogs,
faerie dragons, treants, and unicorns. The darker
E THEREAL PLANE ENCOUNTERS regions of the plane are home to such malevolent
creatures as hags, blights, goblins, ogres, and giants.
_lost encounters in the Border Ethereal are with
eatures on the Material Plane whose senses or SEELIE AND UNSEELIE FEY

abilities extend into the Ethereal Plane (phase spiders, Two queens hold court in the Feywild, and most fey owe
:or example). Ghosts also move freely between the allegiance to one or the other. Queen Titania and her
:=:rhereal and Material Planes. Summer Court lead the seelie fey, and the Queen of Air and
Darkness, ruler of the Gloaming Court, leads the unseelie fey.
In the Deep Ethereal, most encounters are with other
~velers , particularly ones from the Inner Planes (such Seelie and unseelie do not directly correlate with good and
...: elementals, genies, and salamanders), as well as the evil, though many mortals make that equation. Many seelie
- casional celestial, fiend , or fey. fey are good, and many unseelie are evil, but their opposition
to each other stems from their queens' jealous rivalry, not
abstract moral concerns. Ugly denizens of the Feywild, such 49
as fomorians and hags, are almost never members of either
court, and fey of independent spirit reject the courts entirely.
The courts have warred at times, but they also compete in
more-or-less friendly contests and even ally with one another
in small and secret ways.

CHAPTER 2 I CREATING A MULTIVERSE

FEY CROSSINGS MEMORY LOSS
A creature that leaves the Feywild must make a DC
Fey crossings are places of mystery and beauty on the 10 Wisdom saving throw. Fey creatures automatically
Material Plane that have a near-perfect mirror in the succeed on the saving throw, as do any creatures, like
Feywild, creating a portal where the two planes touch. elves, that have the Fey Ancestry trait. A creature that
A traveler passes through a fey crossing by entering a fails the saving throw remembers nothing from its
clearing, wading into a pool, stepping into a circle of time spent in the Feywild. On a successful save, the
mushrooms, or crawling under the trunk of a tree. To creature's memories remain intact but are a little hazy.
the traveler, it seems like he or she has simply walked Any spell that can end a curse can restore the creature's
into the Feywild with a step. To an observer, the traveler lost memories.
is there one moment and gone the next.
TIME WARP
Like other portals between planes, most fey crossings While time seems to pass normally in the Feywild,
open infrequently. A crossing might open only during characters might spend a day there and realize, upon
a full moon, on the dawn of a particular day, or for leaving the plane, that less or more time has elapsed
someone carrying a certain type of item. A fey crossing everywhere else in the multiverse.
can be closed permanently if the land on either side is
dramatically altered- for example, if a castle is built Whenever a creature or group of creatures leaves
over the clearing on the Material Plane. the Feywild after spending at least 1 day on that plane,
you can choose a time change that works best for your
OPTIONAL RULES: FEYWILD MAGIC campaign, if any, or roll on the Feywild Time Warp
table. A wish spell can be used to remove the effect on
Tales speak of children kidnapped by fey creatures up to ten creatures. Some powerful fey have the ability
and spirited away to the Feywild, only to return to their to grant such wishes and might do so if the beneficiaries
parents years later without having aged a day, and agree to subject themselves to a geas spell and complete
with no memories of their captors or the realm they a quest after the wish spell is cast.
came from. Likewise, adventurers who return from an
excursion to the Feywild are often alarmed to discover FEYWILD TIME WARP d20 Result
upon their return that time flows differently on the 14-17 Days become weeks
Plane of Faerie, and that the memories of their visit d20 Result 18-19 Days become
are hazy. You can use these optional rules to reflect the 1-2 Days become months
strange magic that suffuses the plane. 20 Days become years
m inutes

3-6 Days become hours
7-13 No change

so CHAPTER 2 I CREATING A MULTTVERSE

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